Image Comics brings Tini Howard, Donny Cates, Brenden Fletcher, Jacob Semahn, Sina Grace, Ian Bettermann and Nicola Scott to SDCC to discuss what’s new at the publisher and the comics industry at large.
Fletcher introduces the first pages from the full Isola comic.
And ahead of solicitations, the cover for Motor Crush #6. When Motor Crush comes back, it will be a flashback issue drawn by co-creator Cameron Stewart with Babs Tarr on colours.
Talking with Grace about doing such personal work with Nothing Lasts Forever, and he says you just hit a point where you feel bad about everything and you just think you’re going to work it out. He just decided to talk about it and see what happens. He says it’s a nice balance with his work from Marvel, so we get to see the “Pixar version” of him and then the not-so-clean and PG version of him over at Image. He describes it as a rough and ugly book (it’s not, it’s damn beautiful), because life is rough and ugly. Of course, those warts and all finish of it all is what makes it so beautiful and personal.
Semahn praises the colourist on his book for coming up with its dynamic and standout colour scheme. Similarly, we talk with Scott about the spot colour effects in Black Magick, and how she’s worked with ink washes and how she came to the ultimate decision she wanted the book to be black and white, and convinced Rucka they could use colour as a story element to denote magic and dramatic elements.
Scott also discusses how much the team works to minute detail, how different spells and magics have different colour effects for example.
Scott talked about how it’s painted traditionally; she had got a Cintiq, but sold it mere months later as she just found it too huge and she’s not very technologically minded, so she sticks to the more traditional techniques. With Black Magick, she feels this adds a more tactile and real feel to the book.
Grace talks about how Image trusts the creators in that way, even down to details like paper stock and how that allows for greater creative freedom. Howard reiterates this when she says that that is one of the cool things about working at Image, you get to work with your friends; it makes it more fun.
She joked about they worried people would hate her Magdalena run and ask, “Where’s the T and A?”
“It got eaten by demons, enjoy the book!”
Thankfully, they have gotten a lot of love for their run.
Fletcher walks us through some pages showing the collaborative art process of Stewart and Tarr, from roughshod by Stewart, to roughs by Tarr based off those, inks, ink washes, colours and the final page.
Cates would guess that Redneck is a horror book, because it contains vampires, but he doesn’t really think of it that way. Talks about how character responds to the captions, which are actually the thought narration of another character. Why does he work with the idea of family a lot? He talks about how God Country comes from a profound life health event two years ago, when he had an organ fail on him. He felt like for the first time in his life he couldn’t provide for his family the way he should, and discussed how it made him reconnect with his family, and coming out of it, he wrote Redneck and God Country back to back.