![]() ![]() JQ: Why do you think more comic book artists become interested in storyboarding? We really have to be expert visual storytellers. Composing a scene in comics is quite different from how it would be handled in film. This visual storytelling ability is the most important skill that a comic book artist brings to the table. There are also artistic decisions made through the handling of the composition of elements or shading which can help lead the eye to the focus of the panel. In general, a comic book artist would have to zoom in and crop out any extraneous elements that could confuse the point of the panel. Comics are handicapped by not having movement or sound which usually are important elements that clue you in to what exactly is going on in the story. SC: Ultimately, the story determines the composition within those panels, while taking into consideration the special constraints of comics as a medium. JQ: How do you determine the blocking and composition of the frame in comic books? These days I have a Wacom Cintiq and Photoshop as part of the process. It’s only been in the last 5 years or so that I adopted digital elements to my workflow. This meant that the only supplies that I was responsible for was pencil leads! I am primarily a penciler, which means that I usually work in a team where other artists are responsible for the inking, coloring and lettering. Marvel would provide the paper stock, and I drew with a mechanical pencil. SC: For most of my career it was as simple as paper and pencil. JQ: What materials do you use to draw comics? The whole process is overseen by an editor who keeps everything on track. The last person involved is the letterer who puts all the dialogue into the word balloons as well as creating those trademark sound effects. Then the colorist is brought in to add the colors digitally. These penciled pages are usually then passed on to an inker who solidifies and refines the artwork by turning gray pencil lines into solid black ink lines. Then it would be given to the penciler who translates that written script into a visual story. ![]() SC: Usually the breakdown is, there’s a writer who provides a full script, which is much like a movie screenplay. JQ: What is the creative process of creating a comic? I can also use the cons for taking on commission work and making money. It’s also a great for reuniting with and meeting fellow artists to hang out or talk shop. Much of the future work I would line up happens at Comic Con since editors from all the major comic companies attend. Beyond that, it’s a great chance to interact with the fan base and get feedback from them. The main reason is to promote whatever I’m working on. SC: There are a myriad of reasons I would attend Comic Con. JQ: What interested you about Comic Con and how did that benefit you as an artist? Eventually I landed my first job at a company called Valiant comics. This was fine because it was valuable information that helped me get closer. The goal was to get hired as a comic book artist, but what I often came home with was a bunch of advice and feedback. SC: It was about 2 decades ago I would make an annual trip to the San Diego Comic Con bringing an ever-evolving portfolio of sample work. JQ: How did you get your start in the comic industry? ![]() So the art in comics needs to be much more refined and detailed, and visual appeal of the art is very important. Storyboards, however, are a step in a larger process where the end product is something filmed. The main difference is that what I would draw in comics is the end product. SC: The general skill of visual storytelling is practically the same. JQ: How do comics differ from storyboarding? SEAN CHEN’S STAR WARS COVER FOR MARVEL & WINTER NY COMIC & SCIFI EXPO YAYA HAN PRINCESS BY SEAN CHEN. This staying power can be traced back to one crucial element: a storyboard – or “superboard,” if you will.īut what is the relationship between comic book artists and storyboard artists and can one find success in both? I spoke with Artist Sean Chen, a Famous Frames storyboard artist and contracted comic penciler for Marvel Comics about his work within both industries and his insight goes above and beyond… Since then, the industry has exploded with comic book characters featured as in movies, television, video games, and as kids’ favorite action figures. In 1938, American audiences were introduced to the first superhero, Superman, who became the first comic book character to have powers beyond the normal human. Marvel and DC Comics, known widely as “The Big Two,” have been churning out hit after hit over the past several years, but America’s fascination with superheroes dates back to a time when feature films were still in their formative years. With each passing week, it seems audiences are treated to a new superhero movie or television series. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |