Just got around to this last piece… sorry. It should really be called Avenger a Day Late at this point. I wasn’t sure whether to draw Bucky or Steve, but I guess this makes it more current. Don’t ask me how he can hear through his cowl… maybe the costume transmits sound through winglets.
Dead prostitute. Nazi death camp. Armored Horse. It’s not a list of possible band names, but the last three things I’ve had to hit Google Images for in the past coupla weeks. I’d say there are only two reasons why someone wouldn’t use references for their artwork — One: Plain laziness; or Two: He has enough faith in his artistic prowess that he can draw straight from his head and put it down on the board.
Either way, I hate you.
The big misconception very early on, and I’m guilty of this myself, is that the finished art is supposed to be painfully faithful to the reference material — which, of course, isn’t the case; otherwise you’d be better off simply photoshopping the images into the panels or going full-on fumetti. No, the ideal way of using the reference material is to stare at it, absorb it, digest, and then put on paper what you, as an artist, believe to be the key components of what you saw. Sure, that sounds easy enough, but what you learn very quickly is that what you leave out is just as important is what you put into the drawing. There is such a thing as over-rendered. Temper it.
To draw from Asterios Polyp, as something is recalled, the brain has a chance to refine it. In that sense, every memory is a re-creation, not a playback.
Why all this talk about the use of reference and such? On my desk is a stack of authentic crime scene photos from the Autumn of Terror. Wolfgang and the 1888 team just recently ran a successful funding campaign over at Kickstarter and everyone’s stepping into place to get the cogs running on the book. The bastards have done it!
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Went to the mall the other week to get sleeping masks for me and Jad coz we’re going to bed at sunrise more often these days. It’s frustrating how them clerks don’t know if they sell them along with the bed linens or in the cosmetics section. Turns out it was in neither and I found them in the toiletries. Go figure.
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PLUCK chugs along once a week at Zuda. Lately got to draw a splash page showcasing Trugg One-Eye, as well as a sequence featuring many a half-naked lady. Gabe White is a good man. Home stretch for JUDAH pitch as Ian Areola joins the team as colorist. After he colored the JENNY STRANGE pitch, I simply had to work with him again. That project, however, is on hold as we wait for Zuda to officially post their new submissions policy, given that they ended their competition format a month or so back. Got other pitches waiting to be worked on, so the Fort Bastard docket for 2010 is pretty much closed as far as new projects go. You know who you are, and you are Saints of Patience.
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Wedding preparations are officially underway. It’s fun and exciting and scary and stressful, but if you can’t mentally see me dancing through this journal entry, you don’t have a soul. Yeah. Jocular Johnny finally got one to stick around. Learned from what came before. Absorbed it. Digested. Built something better. Built something stronger.
Like I said… Reference. It’s good for you.
Back to work.
Though I like this suit a lot more than the Granov/ Extremis armor, the chest detail is a real bitch to get the hang of. I do dig that the overall design is a lot sleeker though. Here’s hoping I didn’t fuck it up too badly.
Surprisingly fun to draw, this sketch of Clint Barton didn’t feel right until I got around to giving him a slight smirk. His mask is probably also a lot shorter than usual, but hey… that’s how I draw him. I never got to know Hawkeye pre-Disassembled, but I have a feeling he’s gonna be my favorite Avenger in the Heroic Age.
Drawing this a little late in the day coz I spent the afternoon rubbing elbows with artists from Manila at the Renaissance Book Signing. Jessica Drew is excellent for waking up before spending some time at the desk. Turns out warming up can be fun.
Not quite my favorite Avenger to draw, especially with the mask on, but the canucklehead is growing on me. I’ve only ever sketched him a handful of times but every time I do, I dial back to my Madureira roots.
The funny thing about being a comic artist for a living is that even though enjoying the medium is definitely escapism… the act of actually making the comics is very often not. In fact, it’s the furthest thing from it.
You may be drawing images of fantasy, and the creative potential in that is near limitless, but I find it difficult to allow myself to get lost in that frame of mind when things are rough in the real world. Of course, I may just be one of these overly dramatic types who can’t separate their lives from their livelihood, but consider this — how safe would you feel jumping into the deep blue depths if you weren’t sure you’d have a boat to swim back up to?
There is no spacewalk to fix the Hubble if the shuttle is not in place.
Just posting a panel from a page I’m working on this evening. It’s a relatively small one from the page, but I feel pretty good about the mood of it. My style most often gets me some pretty light-hearted projects, so I don’t get to play with heavy shadows as often as I want. So yeah. Looky.
Here’s the rest of my favorite soundtracks to listen to, especially when working at night. Of course, it’s an ever-growing list and has a few left out… partially because I’ve gotten sick of them, but mostly because I can’t remember them all. But yeah, below are a few more of my staples.
Transformers
I know, I know. But like I said in the previous post, these are my favorite work themes precisely because they’re not iconic. They don’t muddle what I’m working on, creatively. Jablonsky filled this score with powerful anthemic melodies that helped me enjoy reading the Sinestro Corps War like a pig in shit. And that’s a good thing.
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Neon Genesis Evangelion
And while we’re dealing with big robots and proud majestic themes, we contrast good guy music with my absolute favorite bad guy audio. Anytime an angel shows up in the cartoon, the music jacks up the tension ten-fold, which is why the Eva OST always has to be on queue for sinister shots.
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Jin-Roh: The Wolf Brigade
But sometimes ominous music has to be big and grandiose too, and that’s where Jin-Roh comes in. Evocative of dystopian scenery, this OST has a healthy balance of destructive melodies and sentimental snippets. And on a side note, this feature had one of the most man-tear choking endings of any animated film. Ohgoddamnit.
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Iron Man
Among the most recent of my favorite scores, Djawadi’s compositions had the upbeat feel of Ghost in the Shell, but de-personalized it to the point where it feels more like an anthem than a personal soundtrack. Conversely, while GITS has a more textured feel to its sound, Iron Man’s as sleek as the hotrod-hued suit itself.
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Moon
It seems fitting to end this list (for now) with my latest favorite. Mansell’s soundtrack is lonely and emotive — equal parts uplifting, equal parts haunting. The string symphonies and piano-drum pieces both succeed in saddening without being depressing, a definite must-hear.
Can’t not have music playing when I work. The pencils become stale and the inking tedious. Sure I listen to a handful of bands, but I tend to prefer instrumentals so I don’t have some guy telling me what to think the music is trying to say — know what I mean? And I guess, by that same logic I don’t stick to the iconic scores coz they’ll get me thinking about the movies they came from, even subconsciously. I mean I love Williams, Zimmer, and Horner, but few things are weirder to me than drawing a superhero sequence to the Back to the Future soundtrack.
“This ends NOW! Face the wrath of my… MARTYYY!!!”
No. So here I poke at you with five (of ten) of my favorite movie scores to listen to when bands don’t cut it. The list tends to change depending on my headspace and the actual material I’m working on, but this is the soul of it.
The Ghost in the Shell: Stand Alone Complex
You can’t go wrong with Yoko Kanno when you’re looking for a mix of classical and tech. The GITS score’s rich strings inspire grand themes worthy of everyone’s inner Shirowe. I make sure this is playing when any piece of art calls for something epic or a climactic scene needs sprucing up.
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Signs
This is probably the single most-listened-to soundtrack I own, as I most enjoy it in conjunction with a suspenseful read. The Hitchcock-esque pulses have served as accompaniment for such books as Locke and Key, The Surrogates, 30 Days of Night, Fell, and most recently Alan Moore’s run on Swamp Thing.
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Cowboy Bebop: Music for Freelance
While Kanno’s original jazzy score for the series continues to be among the best ever for any animated work, I find it to be too upbeat for working late at night and can be a bit jarring. The remixes in this volume are a great alternative while still capturing the happy-go-lucky essence of the initial Seatbelts renditions.
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The Matrix: Reloaded (and Revolutions)
Sure, The Matrix films have one of the most identifiable themes around — what I can only describe as drunken warp-trumpets on speed — but the second and third film’s action sequences didn’t use as much Manson and Zombie, and so the musical score’s energy is much better distilled.
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Now and Then, Here and There
Not since Glory have I heard so rich a dramatic symphony, and I first found it in an unsubtitled cartoon that literally got me all man-teary more than once. I listen to this soundtrack when drawing dramatic and altogether uplifting scenes, though the darker melodies aren’t anything to scoff at either.
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