Heloooooooo everybody! What's shaking?

Well today, I've got a super-huge-bonus-surprise for you, for all aspiring professional artists, and hobbyists alike. It's a new interview series I've started, and I'm asking from those of the best in the creative industry! This time, I'm going to start with---

American Comics!

Featuring these awesome people:

Tim Townsend - A professional that has been working for MARVEL, DC, Image comics and many more for 17 years, and is currently working on the Amazing Spiderman and the New Avengers.


Randy Green - Penciller, inker, illustrator, for Marvel, Top Cow comics and more, examples are the Witchblade and Uncanny XMEN books.


and someone who isn't on dA right now but many of you may know his name:
Dave McCaig - Comic colorist, illustrator and photographer, who has also been known to work on The Batman, the Animated series on Kids WB (and won an Emmy award for it too! yey)


So before we start, please know that this isn't just for people into American comics, despite the fact that it applies to them a lot. This is for anyone who loves art, because no matter what they draw, in the end they are artists just like everyone here.

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Here are the questions:

<sub>1. What and/or who inspired you to become part of the creative industry (this includes comic art, animation or anything artistic that you do for a living)?

2. Has this career turned out what you expected it to be before you entered it? How and why is it different?

3. What programs or materials would you recommend for a beginner to practice coloring on? (this includes tablet brands, editions and computers as well if you can recommend)

4. If there was any other job you could employ in replacement of what you do right now, would you exchange? And for what type of job?

5. Any words of encouragement for newbies dreaming of entering the industry?</sub>

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And here are the answers!


1. What and/or who inspired you to become part of the creative industry (this includes comic art, animation or anything artistic that you do for a living)?

Tim: Its no big secret that the artist who originally inspired me to draw, collect comics and, as a result, want to draw comics, was John Byrne. In 1974, at age 4, my father bought me one of those old Charleton E-MAN comics drawn by Joe Staton. As cool as I thought Staton's work was, the book had a little 7 page back-up story in it called ROG 2000 that was illustrated by newcomer, John Byrne. I was dazzled. I cant tell you what exactly it was about his art that impacted my little 4 year old mind the way it did...but it did. Later that week I announced to my mom that I wanted to draw comic books when I grew up. It began my love affair with drawing, comic books, and John's work. I obsessed on John's work in to adulthood when I realized I needed to figure out my own art instead of dwelling so much on that of others.

Randy: As a kid I loved comics, but never thought I would get the chance to actually draw them. I was always drawing stuff, and ended up working as an artist in advertising. From there, I scratched and clawed my way into the comics industry. My biggest comic influence as a kid was "Tomb of Dracula" from Marvel, but my favorite artists were Frank Frazetta, Jose Gonzalez, Berni Wrightson, Jim Starlin, and Walt Simonson.


Dave: My dad was a Canadian political cartoonist and comic artist (not super heroes though, kids magazine type stuff) named Eric Bardal. He was the coolest guy ever, and I wanted to do what he did. Near the end of his art career, dad worked maybe 3-4 hours per day in the morning doing a political cartoon, and would spend the rest of the day goofing off with his friends golfing or smoking dope. Seemed like a good life to me (though I don't smoke dope.)


2. Has this career turned out what you expected it to be before you entered it? How and why is it different?

Tim: That's an interesting question, one I've never been asked before. I had to really sit down and ponder this before answering. I'm actually just trying to remember what, if any, my expectations were before I broke in. To be honest, it all happened very quickly for me. Things seemed to just materialize and sweep me along with them. This isn't to say I didn't work hard at trying to get "good" but there was definitely a series of very fortunate events that culminated in my getting my foot in the door. Once there, I was just in shock for quite some time. I was and still am a fan-boy at heart. I've always felt like a fan who somehow snuck in the back door and I'm just waiting for everyone to realize I suck and kick me out. When I started, at IMAGE, I found myself surrounded by people I only knew of as a fan. It was very intimidating and I think I spent most of my time just trying not to look like an idiot. It wasn't until I left IMAGE and went to MARVEL that I feel like I really started breaking things down and learning at a rapid pace. It dawned on me that, if I didn't get busy and apply myself, that my little psychological metaphor would become a self fulfilling prophecy. So, to answer your question, I suppose I never had a chance to develop any expectations. This is probably a good thing.

Randy: It pretty much turned out as well as I had hoped. Working in comics is OK, but the actual medium or comics themselves have changed so much over 30 years time. I wish they were still as magical now as they were then. Today, it seems that a lot of comics are just done as movie pitches.


Dave: I work way more than I had planned to. Many comic artists live a terribly unbalanced life. Either too much work or not enough.


3. What programs or materials would you recommend for a beginner to practice coloring/inking on? (this includes tablet brands, editions and computers as well if you can recommend)

Tim: Coloring? Im probably the last guy to ask about that. Im still learning myself. You know Im not a colorist, right? I own a CINTIQ that's great for doing anything digitally although I do NOT ink this way. I'm not a fan of digital inking in the slightest.

Randy: Work on whatever you're comfortable with. I use a Mac because that's what I've always had access to. But all the real work for me still takes place with pencil and paper. I use lead holders with a couple of different shades of lead, 4H and H on smooth bristol board. Scan and color in Photoshop (again, it's what I'm used to) but I'm a big fan of art colored in Painter X for some reason. I also use a Wacom Intuos 3 tablet, but I don't do that much coloring.

Dave: I'd say learn to draw and paint really well before moving on to coloring. Learning the technical methods used for coloring takes a day or two. Drawing and painting skills are far more important. What computer you use etc. is almost irrelevant. The only thing I'd really push is some version of Photoshop, and a Wacom brand tablet. A lowly Bamboo is fine, even for pros.


4. If there was any other job you could employ in replacement of what you do right now, would you exchange? And for what type of job?

Tim: Another interesting question. I can't imagine not doing something artistic. I suppose the cliche' is "I'd love to direct!" but I'll try to think of something off the beaten path. I've always loved to sing and I love basketball. Pick one of those.

Randy: Well, as I get older I would like to do more complete, finished illustrations. In comics, I just pencil so I don't have control over the finished product, although I've had some excellent inkers and colorists to work with. When you're a kid, you have to do it all yourself, so I guess it's coming around full circle, trying to re-capture that fun you had as a kid. Concept art for video games might be one way to do that type of work, or just produce art for art's sake, like in an art book.

Dave: I would have become an industrial designer if I'd known what it was in high school. I have industrial designer friends, and I'm very envious of their being able to mix technical details and art in their profession. Also, I'd be making double what I earn now, which would be nice
Before comics I trained in advertising illustration and design, and I kind of miss doing that. I still do the occasional logo or film titles once in a while though.



5. Any words of encouragement for newbies dreaming of entering the industry?

Tim: Being honest and encouraging when it comes to this industry is always a very fine line to tread. The fact of the matter is that most people will never make it. I think its less than 1% or something along those lines. Many think they can just decide to draw comics one day, do a couple of drawings, and, magically, a job offer lands in their lap. They don't realize the years and years (and years) of practice, study, and just "doing" that goes in to becoming a proficient illustrator...or any other artistic discipline for that matter. Sure, there is the occasional anomaly that seems to spring on to the scene fully realized but that's not a realistic expectation.
HOWEVER, if you've put in the time and hard work it takes, if you really know your stuff and are highly self aware when it comes to your own work (objectivity and self-awareness are two of the most important attributes an artist can have) then you have a good chance of getting your foot in the door with persistence and patience. Even though its harder to break in than ever, new people come along all the time. Do what it takes to be that "new one". And good luck!

Randy: I always tell young artists to be willing to take any job and work for little to no money just to get a couple of issues experience. It's so much easier to show an editor at a major comic company that you can handle the work when you have an actual comic to back it up. 3-page samples and pin-ups just don't impress. But, if you do an issue or two for someone and they keep asking you for more, then you should ask to be paid a decent rate. If not, then move on to someone else or do your own book. Once ready, try and track down editor at comic conventions and talk to them. Get an in-depth critique from them! Finding out what you're doing right or wrong will speed up the process.

Also, try and hone your skills on a particular area, drawing, inking, or coloring. You'll get better a lot faster focusing on one thing than dividing your time trying to do it all. That's if you're wanting work form a big publisher and to get paid. If you enjoy self-publishing a creator-owned book, then please feel free to do it all yourself and make it completely yours.

Finally, when you break in, say hello to late nights and long work hours, and say goodbye to your friends and family, vacations, sleep, etc.

Dave: Learn to draw. Study cinematography. Draw your own mini comic to understand storytelling and lines of force. Do art for fun, because if it doesn't end up paying the bills, at least you'll have the fun part. Coloring is art first, color second. It's important to keep that in mind.


And that's it for this edition, I hope someone got inspired, I know I did! look out for more, coming soon!