Integrity

post details top
Oct 19th, 2008
post details top

Toughest part about getting comic jobs when you’re still starting out as a penciller/inker is getting people to pay attention and appreciate your style. More often than not, especially when you’re still learning the ropes (like I am), some of the writers you’ll want to work with will have a specific art style in mind. They may have a unique sci-fi concept, but in their minds they picture it as being drawn by Charest or Hughes. They may have an absolutely new fantasy epic, but are completely mentally locked into having it look like Joe Madureira drew it.

Where does that leave you as a newbie? Do you change your style just to land the gig? Or do you stick to your guns and absolutely refuse to abandon your artistic identity even it means passing up a project you really, really want to do? It’s a pretty thin line, but it’s incredibly tough to cross either way. And that’s all without even bringing up the dough yet.

:::: :::: :::: ::::

Eno Card says, “Simply a matter of work.”

Huh.

:::: :::: :::: ::::

Fuck it. Ain’t budging.

:::: :::: :::: ::::

As good as done with the first issue of MASK of MANOLO. As far as I know, issue two ain’t supposed to begin production till mid-November or so, so that allows me time to shift gears for a bit and work on other stuff that have had to be placed on hold. Pin-up commissions, other books, and the like.

Make it swift, man. Make it swift.  Right across the jugular.

:::: :::: :::: ::::

Another tough thing I’ve noticed about actually doing the work already is this: It may take you only one day to do one clean page of comic book art, but what happens when you have to do it for days in a row, sometimes for seven days out of a week, week after week, until you do all twenty-two or more pages?

Short answer: If you don’t take it a day at a time, it will will destroy you.

Granted, of course, that I’m not exactly the most disciplined guy around, but there is something to be said for being too lazy to even sleep. I shit you not. But yeah you know what I mean.

:::: :::: :::: ::::

A toy convention is being put together by some local enthusiasts, and Santini and I were approached to spearhead the artsy-farsty side of things. Two “featured artists” if I may be so bold. Unfortunately I’m not gonna be in town for said shenanigan, but we’ll see how it evolves into something more awesome, considering I won’t be around to fuck it up. I still have a hand in it though, so HAH! Suck it!

20 Comments

  • Alex

    That’s a pretty shelf. I would like one.

    Also, I’m still not backing down on my word. Two pages by the end of the month.

    Integrity.

  • Prey

    I have a range of closely-related styles that I can choose to emulate, and that’s fine by me. If it requires very cartoony styles, I turn such offers down.

    But that’s just me.

  • Justin Jordan

    I try to fit the project to the artist, myself. So with Overthrow, I didn’t see it being right for any of the artists I have worked with before, so I went looking and …well, here we are.

  • johnamor

    And so begins the bromance.

  • Lloyd

    Maybe because of saleability that’s why writers (hopefully not all of them) prefer to have popular artist draw their stories or they just want to balance the money aspect and the artistic aspect, but in my opinion there’re only 2 reasons why the writer thinks that way. One: He’s/She’s such a huge fan of a certain popular artist and he/she wants him/her to draw his story or he/she really feels that (insert popular artist’s name here) is perfect for the story and Two: He’s/She’s got some doubt in his/her own story that’s why it needs a “hot” artist to be able to sell either moderately or like pancakes. I think the bottom line in all of this is because comics is still being underestimated as a literary medium. Even people who’re hardcore fans are unknowingly underestimating the very thing that they worship the most. I have noticed something lang and i well perhaps this is something to think about….A book by Robert Louis Stevenson called Treasure Island, a classic piece of literary art it has been published so many times either in pure words or with some occasional illustrations..now the pure words or with the occasional illustrations have gotten applause and high praise regardless of the art whether they maybe stick figures or detailed drawings and now comes a comic adaptation with more or less the same script the only difference is the words are in word balloons and not in paragraphs..now if you ask a common folk which they would prefer can you guess what the answer is?..hehe! common people are subjective and mediocre and conventional thus the label common..and unfortunately they rule the majority of the population and their mindset is infectious, well ana jd cguro na..pero the hell with it. I think i know why Jim Lee never tried other styles in comics, maybe he was ordered to but i’d understand if he Jim Lee would say “Wala ko nag change ug style kai mao mani akong ganahan jd…nagpakatotoo man kos akong kaugalingon. If musuway kog laing style then dli na ako. so i don’t really care if ingnon kog karaan that’s me my choice, my way.” Then i’d reply. “Imong nawong my way!!! AHAHAHEHEHEHEHKKEKKEKEKEKEEK!!!”

  • johnamor

    A lot of stuff was put out there, but yeah I do agree about the bottomline being saleability (if that’s a real word) and perception.

  • Justin Jordan

    “I think i know why Jim Lee never tried other styles in comics”

    He has, albeit not recently. Have a gander at the orginal Deathblow stuff, fer instance.

  • johnamor

    Yeah, he does have that watercolor/wash thing going for him, right? I believe he did it for the flashback sequences in Hush as well. He should do that more often.

  • Gerry Alanguilan

    If they hired you to work on something, then they must know what your art looks like and they like it. Why would they hire you on the basis of your work only to ask you to draw differently?

    Personally, it’s a trap. If you start to emulate other artists and become popular because of it, that is what you will become known for. Oh, the Travis clone, oh, the Jim Lee clone. As an artist you really need to exert yourself artistically, and prove yourself and your art worth the attention. Granted, there are many artists who followed that route. Travis himself was a Jim Lee clone. Barry Windsor Smith and Ladronn were Jack Kirby clones. Bill Sienkiewicz was a Neal Adams clone. Although they received quite a bit of flak early in their careers for not being original, they exerted themselves and evolved their art into their own.

    If drawing in a popular style can get your foot in the door, that’s great. But if you are truly an artist who cares about your art and your identity as an artist, then you need to evolve once in your in there. I think writers and editors would appreciate it.

    “Saleability” is something I never believed in. As long as something is drawn very good and is very impressive, no matter what style it is, people would appreciate it. In fact, I find that something that’s different from anything I’ve seen before that’s drawn/colored spectacularly, then that would be the first thing I’d buy.

  • johnamor

    Thanks, man. That pretty much confirmed what I felt was right… but with stronger and more informed sentiments. It’s encouraging to know that an industry vet is looking out for the new guys.

  • sullyeliot

    See… if I was going to hire an artist to write what I did (and I DO have certain styles I can’t imagine certain books without), I would want to find an artist who is capable of and willing to draw the way I want them to.

    Forcing an artist to draw something in a style they’re not comfortable with is ridiculous. That said, I would want an artist who could draw in a variety of styles (Immonen on Nextwave) and isn’t afraid to mess with crazy paneling (Frank Quitely). It helps if they’re not a “hey, you just write the dialog, and I’ll panel it all nice and neatly for you” person, since…

    I don’t know how to say this without sounding like an ass, so I’ll just say it. Most writers are content to tell some basic story. I came from a literary background, so the only way to tell a story in my mind is with detail and layers. Alan Moore and Grant Morrison had good ideas of how to go about this, so I’d want an artist who trusts me enough to tell a good story, even if they don’t agree with my decisions. I want to be able to trust that artist as well.

    Also, I can outwrite Moore any day.

    But none of this matters because I haven’t got it fucking written yet now, have I? >_>

  • sullyeliot

    “One: He’s/She’s such a huge fan of a certain popular artist and he/she wants him/her to draw his story or he/she really feels that (insert popular artist’s name here) is perfect for the story and Two: He’s/She’s got some doubt in his/her own story that’s why it needs a “hot” artist to be able to sell either moderately or like pancakes.”

    Double posting. Kill me.

    In the case of myself, and some people I know, it’s because we’re very visual people, and when we create a world and characters and so forth, we get ideas of what these characters would look and feel like, and that, as well as the tone of the story, dictates the kind of artist you’d want. You wouldn’t want to put Nihei on Ultimate Spider-Man any more than you’d want to put Bachalo on Marvels.

  • johnamor

    Every morning I wake up, take the seven-second commute to the bathroom, look in the mirror, and ask myself why I’m not Stuart Immonen.

  • Lloyd

    @Justin Jordan

    “He has, albeit not recently. Have a gander at the orginal Deathblow stuff, fer instance.”

    Jim lee played with style but was never really serious in adopting a new style..unlike Stuart Immonen…just take a look at his 90′s superman and in his new art style they’re totally different..Jim Lee’s art is just like ice cream only in different flavours but still it’s ice cream. I saw his washes in his artbook and you take a closer look if take away the watercolor then leave the pencils what do you see?…it’s still the jim lee we saw at X-men at wildcats and unlike the likes of joe madureira, stuart immonen..even Andy Kubert changed his style when he switched to Ka-zar and Cap…

  • johnamor

    I don’t know if Joe Mad changed his style, but he definitely upped the detail level after he left X-men.

    Mad props to Skottie Young though. His style is evolving but still has its core identity.

  • Justin Jordan

    Sully would go mad if he read one of my vagie ass scripts.

    Panel One: Something cool happens.

  • johnamor

    Please let that be a typo.

  • Justin Jordan

    BE GLAD I DON’T MAIL THEM TO YOU.

  • jayjaylumagbas

    slightly off topic, but i think this talk by Minkkenen, this surrealist photographer, is kinda related

    interesting photos, too, i think

  • caryn

    whoa. this is a really cool blog! ;-)

    i kind of know what you mean regarding artistic integrity; i’m an architect and its hard dealing with clients who have set ideas about things. sometimes i want to tell them that they need a draftsman instead of an architect. but hey, whatever pays the bills no?

    hahaha! but when i worked in museums i never forced my artists to do things my way. naging artist pa sila no? i just explain the general vibe and let their creative juices flow ;-)

Leave a Reply

-amor-da - Twitter - amor-fb - amor-tk- amor-da -

 

May 2012
M T W T F S S
« Apr    
 123456
78910111213
14151617181920
21222324252627
28293031  
-

-