The Faculty of SCAD-Atlanta's Sequential Art (comics) program

This page exists as an informal introduction to the Sequential Art major of the Savannah College of Art and Design's Atlanta campus (where I teach) and is an extension of the Frequently Asked Questions page on my website, croganadventures.comIt is in no way affiliated with the school itself, and is merely a means by which to explain the details of the program as I see them to the folks who have asked about it.  If you are looking for the official SCAD website's information on its Sequential Art program, please click here, and you will be redirected.

Shawn Crystal
Our department chair (they’re called “program coordinators” here) is Shawn Crystal.  Shawn was my mentor when I was in grad school, and though we have strikingly different styles, taste, and approaches to the work, we share a passion for the medium and for teaching.  Shawn teaches many of the visual storytelling classes, the graduate studio courses, and the drawing classes.  Most of his work is done for Marvel Comics, where his dynamic pencils and masterful inks grace the pages of popular titles like Deadpool and The Avengers.

Nolan Woodard
Nolan Woodard is a colorist, doing work for Marvel, Boom, Oni, Image, and Thrillbent.  He teaches all of the digital classes, teaching students how to letter and color digitally and how to use programs like Photoshop and Manga Studio to their fullest potential.  He also teaches many of the concept design classes, drawing on his ten years of experience with Wyden-Kennedy, the world’s largest and most prestigious independent advertising agency.  If you’re a star wars fan, you might’ve seen any of the hundreds of Star Wars cards that he’s drawn for Topps.

Douglas Dabbs
Douglas Dabbs is our classical scholar, and teaches many of the drawing and anatomy (both human and animal) classes.  He also handles a lot of the film-related courses, teaching storyboarding and concept development, as well as process courses like Materials and Techniques.  His most recent book is Holliday, a modern retelling of the gunfight at the O.K. Corral.  

June Brigman
June Brigman teaches the Drawing for Storyboarding and Drawing for Sequential Art courses.  June was the artist on the long-running newspaper strip Brenda Starr, and is most fondly known for being the artist on the Marvel super-kids series Power Pack from its inception through issue #17.  Most recently she has been the artist on The 99, which was praised by the president of the United States for being one of the most innovative contributions to fostering dialogue and understanding between the US and the Middle East that he'd encountered.

Chris Staros
Chris Staros teaches the “Getting Published and Self-Publishing” course and Comic Scripting.  The former president of the Comic Book Legal Defense Fund, Chris is the editor-in-chief of Top Shelf Productions, one of the most respected comic publishers in the industry.  Chris has edited and published books like Craig Thompson’s Blankets, Alan Moore’s From Hell, Nate Powell’s Swallow Me Whole, and Andy Runton’s Owly.  He brings his considerable editorial and business prowess to help the students with both their writing and careers. 

Chris Schweizer
I assume you're already familiar with my stuff, or you wouldn't be reading this (unless you got here from Google instead of from my site, in which case I apologize for the casual nature of this whole thing and point you towards the official SCAD website, which can be found here).  I teach a lot of the writing courses, comics history, character and environment design, and my favorite course, Intro to Sequential Art, which is basically comics boot camp, and the first major course you're likely to take.

Well, that's what we USUALLY teach.  We actually switch up a lot, rotating classes so that we all stay fresh and at the top of our teaching game.  But the most important thing about our program is that every single faculty member is a working professional, and that’s important.  There are no former comic artists; we’re all working RIGHT NOW, and will continue to do so.  There are no comic theorists (well, we’re all theorists, but we’re practicing).  Every one of us understands what it’s like to struggle to build a successful comic career and make a living at this, and we know that it's not easy.  By constantly seeking out publication opportunities for ourselves in our professional capacity in the comic industry, we’re in a position to know what opportunities are there for students.  By working with editors, we build relationships with them, and they know that they can come to us when they’re looking for talent.  And by producing work on a regular basis, we constantly find new ways to approach the page and improve our productivity, and we share those revelations with our students.