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All responses Most smiled responses
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Wow. No. Gee that was a long time ago. I'm really glad you like it and that it still holds up in some way.
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asked by davepress
Hey and thanks. I'm currently working full time on a project outside of comics. I'd be more than happy to take on an ongoing but there is absolutely nothing in that particular pipeline at the moment.
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First, it's not my first event (as many people keep insisting). And as far as the work goes, there's really no difference beyond the fact that FI had oversize issues bookending the series. I put the same amount of effort into every book I do. Honest.
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on 1...Not really. I plotted for several issues past the last one that was published so that information is available to be used in whatever way the next writer saw fit. It's been so long now that who knows how or when (barring the occasional appearance) they will be returned from publishing limbo.
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Thanks for the kind words and sorry, no. But I'm sure there are people who can provide such a thing. Maybe try Dave McCaig's forum.
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Loose layout with the blue pencil (which is not erased) cuts down on the pencil erasing. There're only so many times that you can erase and redraw on a page before it gets completely embossed or chewed up and useless. Also, not all erasers are created equal. I like the basic Staedtler Mars Plastic and the Sanford Tuff Stuff Eraser Stick. Other than that, there's not much you can do about it. I've been drawing professionally for 25 years, I still screw it up all the time.
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asked by LOSTinLDN
Working with BKV was a real treat, he's such a pro and he made it easy for me. I felt like I really did my best work on Spider-Man. Bendis made me feel very welcome coming into a situation that had been an exclusive playground. Either way, with any book, I'm kind of determined to enjoy myself otherwise it would be a dreadful way to spend your day.
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Thanks. Truly. It means a lot when someone takes the time to pass their thoughts along. Fear Itself was a satisfying odyssey for me.
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That would be swell. But alas, no.
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I don't do layouts for myself or anyone else and the only thumbnails I do are usually directly on the script and no more than about an inch high. I'll lightbox occasionally, usually to correct a part of a drawing I'm not happy with or I'll use it to check one composition against another. In over 20 years in the biz, I've never missed a deadline by more than a couple of day, so thanks for noticing! And I'm not as fast as I used to be but it's still basically a page a day.
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We were just talking about this the other day because people keep asking but right now... probably not. "No more small books!" is kind of the mantra for the day around here.
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The short answer is that the creators we really want to work with is each other and we're working hard to keep making that happen. However, barring that and off the top our our heads...
K: Invisible Woman with James Harren and more Hellcat with David Lafuente.
S: The Inhumans with Paul Grist. -
Thank you for the kind words about a book that we are both very proud of. We're actually taking a bit of a sabbatical this fall to try and push through the entirety of our next project called "Russian Olive to Red King". There are a couple of early pencil pages here:
http://robot6.comicbookresources.com/2010/09/stuart-immonen-on-being-a-top-marvel-artist-while-nurturing-his-own-pursuits/#more-57381 -
Thanks and we don't have any conventions that we attend regularly and, in fact, are actively trying to say 'no' more than we say 'yes', for a variety of reasons.
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I don't know anything about it, and couldn't say even if I did, beyond the fact that Warren is writing it and I'm drawing it. But I am looking forward to it.
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Ordinarily we love Mazzucchelli, but not in this case.
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Very recently we've enjoyed Tardi's "It was the War of the Trenches" and Alex Serra's "Lopopo's Lost Sock" which should give you some idea of where our interests lie... all over the place. We honestly don't do a lot of 'mainstream' reading that isn't for work. And on the bedside tables right now are the first issue of Ingraham's "Robot Jones", an issue of Steven Grant's "Challengers of the Unknown", the Johnny Double trade and the first issue of Spirit of Wonder.
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Hey. Neither of us really get the "too hard" part of this. Of course it's hard. It's always been hard. t's a job for professionals. But here's the good news: it's never been easier to get your work in front of the people that need to see it. If she's hesitant about showing work to companies, then she should start with artists at conventions in artist's alley. Stuart gave a whole whack of quite in-depth portfolio reviews at FanExpo and people seemed to have felt that they were helped by them. Editors at DC and Marvel are specifically at cons to look at work, all you have to do is drop by the booth at the start and find out how they want you to go about it. I get the 'scared' part but really, you just need to steel yourself and get at it. In the meantime, make comics, make more comics, get better, and don't feel the need to inflict your work on the public until you're ready. Our best advice? TAKE ADVICE.
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Certainly, I have something in mind before I put pencil to paper so I'm not working it out on paper in the way I think you are suggesting. The blue pencil is to layout the composition and then I start actually drawing.
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