Tysall:

You know how I'm a little too honest about the mag on the forum... I'm going to do it again.

The IFX classic pages work for us in two ways. The 'good way' is: new readers haven't seen the great bespoke images painted for IFX in the past. Which helps reenforce IFX's standing in the digital art community.

The 'bad way' is, due to the nature of publishing, things get dropped. And they're a quick solution to filling pages. Maybe we need to look at a different editorial 'spin' for these kind of pages. Any suggestions guys?

Before I joined the mag I would flip past the Q and A pages thinking it was all too specific to a single readers problem. But once you read the answers you can start to see how a certain solution will help you on a similar problem, now or in the future. I think it's a great section - where else can you get access to 6/7 pro artists to help you with your paintings...

You all know the reader survey is out there, somewhere in the ether. Please do try and fill it in. Yes, we're always here to listen to your suggestions, but the reader survey goes all the way to 'the brass'. So it's a great way to help us shape IFX into the mag you want to read.

Cheers
pt

The filler doesn't bother me too much. In all honesty it reminds me how long those images have been works in progress, plus I felt it gave your growing number of readers a chance to see stuff they missed because of the scarcity of older issues.

To myself, I thought "Oh, I saw these." But then remembered how long ago it was and just commented on how long the magazine's been around. 

Claire:

I know it sounds strange, but I'd rather people didn't post a reader survey link here. What will happen is that websites that advertise competitions will take the link and get non IFX readers to apply just to try and get the prize. Then the survey gets skewed... hope that makes sense.

whoops, pleased i didnt post it!

lol, yeah.. makes total sense claire. never thought of it like that..

The Gurch:

Sometimes, living in the Uk itself is a prize

Sometimes... 

Tysall:

You know how I'm a little too honest about the mag on the forum... I'm going to do it again.

y'know, its kinda nice that a member of staff is open about these things.   

the classic pages have been griped about as seeming like filler... to be told that, in some respects - they can be, is quite interesting.  especially when on the back of that we can offer up other ideas for quick filler pages...   its easier to suggest alternatives if you understanmd why something is happening in the first place.

I guess I could ask them to order it again even though  I had already done that in the first place but they still stopped ordering it, despite the fact I had bought each monthly copy. Anyway I will probably end up subscribing now which I hate doing lol.

Cheers :) 

So where do we actually download the Marek Okon files?

There is also no psd file in the folder in the dvd.

Started reading this and of course went straight to the Simon Bisley interview which also had a Q&A with Simon Reed and from that Q&A:

IFX 'What is his (Simon Bisley) influence on the rest of the comic book world?'

Simon Reed 'He's seen as an example to follow nowadays, with so few artists who can draw and paint. Computer colouring can compromise comics in so many ways, as artists see it as a way of shortcutting their work and then touch up on computers later during colouring.'

Okay, I'm left in no doubt that Simon Reed does not like digital art. That comment of his deserves a reply.

First of all, full colour comics are now in the majority. There were UK comics that featured full colour strips such as Eagle in the Eighties but that was an exception. 2000AD for much of it's run had a single coloured gatefold. I think Simon Bisley was the first artist in 2000AD to paint an entire strip 'Slaine the Horned God'. So before the Biz in 2000AD, artists could certainly draw but few of them were ever called to paint regularly.

Who are the artists that can't draw and paint, working in comics? As I've said, the majority of comics are full colour and many of them painted so it seems strange that the majority of artists can't draw and paint. Is it possible he's refering to artists that have incorporated digital into their workflows? Do these individuals resort to 'colour by numbers' and crayons during a 'crash' or is it entirely possible that Mr Reed from a standpoint of ignorance thinks that 'the computer does all the work'.

I think Mr Reed would benefit on checking up on how many great comic artists are also accomplished digital artists, perhaps he wouldn't be so inclined to readily dismiss the medium.