Comics Art Archives - Robot 6 @ Comic Book Resources
Hellbreak, the upcoming supernatural action series by Cullen Bunn, Brian Churilla and Dave Stewart, marks a departure on two fronts for the illustrator, who not only embarked on a new artistic style but also made the move to digital.
Ahead of the title’s debut next week from Oni Press, Churilla shared with ROBOT 6 a look at his process. It’s particularly interesting to learn that preference for working in blue pencil, as he explains, mostly is due to the influence of the Chip Kidd/Paul Dini Batman Animated art book.
Next week will be big for Thief of Thieves artist Shawn Martinbrough on two fronts, as not only does Thief of Thieves #26 go on sale Feb. 25, but on the following day he’ll discuss his career and his noir-influenced approach to storytelling as part of the Society of Illustrators’ celebration of Black History Month. He’ll be joined in the conversation by comics writer and historian Danny Fingeroth.
In conjunction with the release of Thief of Thieves #26, ROBOT 6 asked Martinbrough to rank his 10 favorite covers, and reveal a bit about the creative process for each one:
This week marks the release of Matthew Dow Smith‘s October Girl #3, nearly two and half years after the debut of the second issue of the Monkeybrain Comics series. Smith is the first to admit that’s way too long a period between issues.
As part of my continuing effort to have creators open up about their creative process, I asked Smith to share the process for creating a page from October Girl #3. He’s clearly eager to get the next installment of his dark fantasy series into readers’ hands. Understandably, given that the story’s core concept seems delightfully engaging on several levels (a young woman, Autumn Ackerman, discovers that her imaginary childhood friend is quite real).
Since ending his run on Animal Man in 2012, artist Travel Foreman has released relatively limited comics work — primarily covers and short stories — largely because he remains focused on his long-gestating creator-owned project Zuerst. However, it turns out he nearly tackled another series for DC Comics, with his Animal Man collaborator Jeff Lemire.
On his blog, Foreman posted sketches created in preparation for Lemire’s Justice League United title. That work ultimately never came to pass, but these sketches — and the raw creativity shown by Foreman — are certainly invigorating, if perhaps disappointing for fans who’d have enjoyed seeing the story arc materialize.
We frequently relish the opportunity to recommend creators or projects that readers might not otherwise consider. But in an effort to mix things up, it never hurts to solicit opinions from the creators themselves. This week, Justin Greenwood, artist of The Fuse and Stumptown, takes a moment to discuss Joe Infurnari‘s work on the sci-fi mystery series The Bunker.
Although Southern Cross, the sci-fi horror series from Becky Cloonan, Andy Belanger and Lee Loughridge, doesn’t debut from Image Comics until March, its production blog has already proved itself a must-read. Or a must-view, in any case.
The series follows Alex Braith as she boards the oil tanker Southern Cross en route to Saturn’s moon Titan to collect her sister’s remains, retrace her steps and uncover answers about her death.
On the blog, the creators have posted everything from character designs to logo treatments for the comic’s galactic oil company to — best of all for anyone who ever spent hours poring over schematics of Titans Tower or the U.S.S. Enterprise — a top-down blueprint of the Southern Cross itself.
In The Life After, the Oni Press series by writer Joshua Hale Fialkov and artist Gabo, things can get a little complicated — not only in the story, which involves religion, purgatory and even a dead Earnest Hemingway, but also in the construction of each issue. After all, this is a comic whose debut featured a 50-panel two-page spread.
But what does it take to create a cover for the series? Glad you asked! We’re pleased Gabo has shared with ROBOT 6 his cover process for The Life After #9, which goes on sale in April (in more immediately news, Jan. 28 sees the release of a direct market-only $9.99 trade paperback).
Check out Gabo’s step-by-step process and commentary below:
This week sees the release of the sixth issue of Natalie Nourigat‘s Eurotrip sketchbook Tally Marks, from Monkeybrain Comics. In addition to the preview on Comic Book Resources, Nourigat provided ROBOT 6 with some other pages, as well as a selection of scans directly from the sketchbook. It provides readers with an idea of what her art looks like before Photoshop tweaks.
Being a superhero may be a full-time job, but everyone’s got to have a life outside of work … right? Artist Des Taylor, creator of the upcoming series Scarlett Couture, answered that question recently with illustrations featuring the likes of Wonder Woman, Black Canary, Batgirl and Lois Lane, and they don’t disappoint.
“There are enough artists drawing them kicking the hell out of each other,” Taylor writes on his deviantART page. “I like to illustrate my favourite heroes doing everyday casual stuff.”
The Dark Knight has been depicted in numerous mediums, but what about wood? Sure, comics are technically made out of wood — but this is on a different level.
Chainsaw carver Thomas Earing has taken his tools to a silver maple, creating this 7-foot tall piece he calls, fittingly enough, The Bark Knight. The Washington-based artist has been making these types of sculptures for 12 years, according to an interview with KOMO News, and estimates that pieces such as this take at least 30 hours to complete.
Late last year, I noticed that writer/artist Mike Dawson was contributing original content to The Nib, a collection of political cartoons, comics journalism, humor and nonfiction at Medium.com edited by Matt Bors.
Curious to learn what led him to participating at The Nib, and hoping to see if I could get Dawson to break down one of his recent pieces that ran there, I reached out to the cartoonist. It turns out he was more than happy to reveal the development process for his Oct. 6 strip, “The Underdog Myth.”
This week Titan Comics releases a new collected edition of Kingdom of the Wicked, the 1996 fantasy miniseries by frequent collaborators Ian Edginton and D’Israeli (Dark Horse published a hardcover collection in 2004, but it’s out of print.)
The new edition offers a sort of director’s commentary by D’Israeli, who details his creative process. To let readers know what they will get when buying the book, Titan shared with ROBOT 6 some the process for one page, as well as D’Israeli’s commentary.
Scott Snyder and Greg Capullo’s Batman is big in New York City. Well, huge may be more like it.
At 13th Dimension, Dan Greenfield has a gallery of photos taken over the holiday weekend at Times Square, where Google’s block-long, 8-stories-tall digital billboard — the largest in North America — ran an ad for Batman, Vol. 1: The Court of Owls (available on Google Play, naturally).
On his Facebook page, Usagi Yojimbo creator Stan Sakai offers a glimpse into his process, showing the evolution of a single panel from rough sketch to final inks.
Sakai’s historical fantasy, which celebrated its 30th anniversary this year, continues next month with the conclusion of Usagi Yojimo: Senso, the six-issue miniseries with a War of the Worlds-like twist.
See the full panel process on Sakai’s Facebook page.
Geoff Johns has revealed finished art from the long-awaited second volume of Batman: Earth One by Gary Frank, Jon Sibal and Brad Anderson.
The original graphic novel is scheduled to arrive on May 6, nearly three years after the debut of the first volume. They’re part of the Earth One line that retells the earliest adventures of some of DC Comics’ superheroes, free of current continuity. Teen Titans: Earth One was released in November, with Superman: Earth One Vol. 3 scheduled to hit shelves in February.
DC unveiled the covers for the new volumes of Superman: Earth One and Batman: Earth One in August.