"Deadpool" Sequel in Motion, Screenwriters to Return
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.
Todd McFarlane frequently uses his Facebook page to inspire fans with lessons he’s learned in his own life, and his latest post is little different — except that it features the first piece of Spawn promo art, drawn on the day he left Marvel in 1991.
“When I left Marvel … I JUMPED OFF THE CLIFF into the unknown to start Image Comics and then McFarlane Toys,” he writes. “But I knew in that by following my heart, I would be a better husband and father. No amount of money could be buy me that!!!
The comics medium allows for diverse interpretations of characters, both narratively and visually. Artist Jaakko Seppälä has taken 10 of the most iconic comic characters — from Asterix to Batman to Lucy van Pelt — drawn in the style of 10 famous artists (including their respective creators or most popular illustrators).
Fans will have to wait until September 2015 to get their hands on the Batgirl Black and White Statue, based on the character’s redesign by Cameron Stewart and Babs Tarr, but artist Jesse Farrell has already sculpted his own take on Burnside’s protector.
Created for the sixth annual “Dark Knight on a Dark Night” Batman art show at Hub Comics in Somerville, Massachusetts, the sculpt was inspired by Barbara Gordon’s first appearance, on the cover of 1967’s Detective Comics #359. However, Farrell’s version is decidedly modern, with the updated costume, smartphone and spilling cup of Gotham Coffee.
See a couple of photos below, and more on Farrell’s website.
Beginning n February, writer Stuart Moore and artist Gus Storms embark on a new five-issue EGOs arc, called “Crunched.” As noted in Image Comics’ solicitations, “The narcissistic super-team of the future returns to battle an invisible threat to the galactic economy.” To whet folks appetite for the upcoming arc, Moore, Storms and designer Brett Evans detailed for ROBOT 6 the steps leading up to the final cover design.
Artist Ken Lashley leaped into the spotlight this week with his collaboration with writer Gail Simone on DC Comics’ latest incarnation of Secret Six. No stranger to the publisher, he’s provided covers for such titles as Suicide Squad and Superboy, and drawn interiors for Superman: Doomed. A quick glance of CBR’s previews archives reveals the variety of work he’s done for other publishers in recent years, including a couple of AXIS Revolutions covers for Marvel.
To get an idea of the variety of characters Lashley draws, as well as some of his commissions, one needs only to look at his Instagram profile (where he posts under the username Ledkilla). In addition to the range of talent he shares with his fans, he clearly relishes shooting some of his samples at interesting angles, adding a layer of kineticism.
Marvel regained its mojo in the late 1990s when it handed some of its second-tier characters to creators to reimagine as part of the Marvel Knights imprint. And now, one of comics’ hottest up-and-coming artists is pitching his revamp of two of the publisher’s cult-favorite properties not to Marvel, but directly to the fans.
First mentioned during an Inkstuds interview, Ron Wimberly has posted two sets of illustrations showcasing his re-envisioning of Blade and Cloak & Dagger. The Prince of Cats creator said the Cloak & Dagger work initially started as “playing with type,” but he says he does have story ideas to back up the artwork.