Having an email discussion about limited palette and jonesing hard for Joost Swarte
Hello to you. I use photo reference in all aspects of my work, primarily to help with body language, lighting effects and various complex details of the real world. However, I don’t have a particular person in mind when drawing Sam Wilson or any other character. Indeed, I’m most often the model, regardless of race, gender or species.
While I use photo-reference extensively in my work, and have been known to copy a 3D model or two on paper, in 28 years in comics I’ve never traced a human figure. But I’m no Neal Adams, either.
Things we find reassuring: handmade marbles at the Moon Marble Company.
Pictured: Filip Vogelpohl - “Silver Static Dichroic” with Black Moon and Stars Background
You have no idea… every time I think about her, I need to sit down. Or set something on fire. Or sharpen the felling axe and then go fell something. But sometimes I just vacuum.
Thank you for your question and for your kind words.
At this point, I— to plagiarise a crazy old wizard— mostly act on instinct. There is no one right way to compose a panel or a page; I let the story inform the choice. The decision-making process, as I said yesterday, happens very quickly for me. These FEAR ITSELF thumbnails are more than the usual amount of work when I “prepare.”
For a joke with a punchline, it might work best to have a series of identical panels; For a single scene with regular beats, a uniform grid; the page might build to a crescendo; it might start with a bang; some overlapping elements can be interesting; a panel without a background can be arresting; non-rectilinear panels can be exciting; you might need to leave room for exposition.
The story knows. Listen to it.
I build from a “skeleton” in a fairly typical way. This post from the archive approximates the process. There are others.
Nothing falls out. The other thing.
Usually, the thumbnail sketch has all the elements in place and takes about a minute to conceive. The rest of the day is spent trying not to cock it up completely at full size. I don’t think too hard about how I get there.
It’s a fair question; here’s my answer. I suppose that, by definition, not encountering something means one misses out on that thing. However, I look at other people’s work as a matter of course during the workday, and examine it critically, since looking carefully is part of my job, but this is not the same as reading for pleasure, which in my case, since I spend 6-10 hours a day immersed in comics, takes other forms. As for inspiration, I have never looked to comics exclusively to call up the muse, and indeed, find that looking elsewhere is often more beneficial anyway. Telling a story with pictures is mostly about problem-solving; regardless of the quality and quantity of the work of my peers, I need to know how I need to solve those problems, not how someone else did.
1. Olive and Red are the two main characters. It’s kind of a love letter. We are currently in the throes of nailing down publishing details and it’s looking like mid-2015
2. Stalin Is Next.
3. I have no plans to leave, Tom says he has no plans to fire me.
… for the next 48 hours or so. http://immonen.ca/ask
And just to pre-empt usual:
1. Yes, that rain is trying to turn into snow.
2. The dog pooped twice this morning.
3. No, pheasants are not the same as grouse.
4. 1 tablespoon per 1 cup of water.
Copyright exception for political ads mulled by Conservatives
Kady O’Malley shares the latest on the fallout from a leaked cabinet document on a possible copyright exemption for political parties, as Heritage Minister Shelly Glover tells the House of Commons that television networks shouldn’t be able to ‘censor’ political ads.