Rough Stuff 11 Online, KSIĄŻKI RYSUNEK
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All characters TM & ©2009 Marvel Characters, Inc.
84
1
82658 27766
6
Volume 1, Number 11
Winter 2009
Celebrating the ART of Creating Comics!
EDITOR
Bob McLeod
PUBLISHER
John Morrow
DESIGNER
Michael Kronenberg
PROOFREADERS
John Morrow and Eric Nolen-Weathington
COVER ARTIST
Greg Horn
FEATURED ARTISTS
7
Gene Ha
20
Greg Horn
CIRCULATION DIRECTOR
Bob Brodsky, Cookiesoup Productions
43
Mike Perkins
55
Edgar Tadeo
SPECIAL THANKS
Rich Cirillo
Mike Finn
Shawn Fritschy
Brian Galatis
Kasra Ghanbari
Gene Ha
Greg Horn
George Khoury
Dave Morris
Walt Parrish
Mike Perkins
Doug Resnick
Edgar Tadeo
Thomas Yeates
ROUGH STUFF FEATURE
34
Convention-al Wisdom
Rich Cirillo
ROUGH STUFF INTERVIEWS
3
Gene Ha
64
Thomas Yeates
ROUGH STUFF DEPARTMENTS
2
Scribblings From The Editor
Bob McLeod
16
Cover Stories
Gene Ha and Greg Horn reveal the process of creating a cover.
ROUGH STUFF
™ is published quarterly by
TwoMorrows Publishing, 10407 Bedfordtown Drive,
Raleigh, NC 27614. Bob McLeod, Editor. John
Morrow, Publisher. Editorial Office:
ROUGH STUFF
,
c/o Bob McLeod, Editor, P.O. Box 63, Emmaus, PA
10849-2203. E-mail: mcleod.bob@gmail.com. Four-
issue subscriptions: $30 Standard US, $40 First
Class US, $47 Canada, $70 First Class International,
$77 Priority International.
Please send subscription
orders and funds to TwoMorrows, NOT to the
editorial office.
Cover art by Greg Horn. X-Men
copyright Marvel Comics. All material © their
creators unless otherwise noted. All editorial
matter © 2009 Bob McLeod and TwoMorrows
Publishing.
ROUGH STUFF
is aTM ofTwoMorrows
Publishing. Printed in Canada. FIRST PRINTING.
84
Rough Critique
Editor Bob McLeod critiques an aspiring penciler’s sample page.
86
Rough Talk
Comments and opinions from our readers.
ISSN 1931-9231
WINTER 2009 • ROUGH STUFF
1
SC
RIBBL
INGS F
ROM T
HE ED
ITOR:
A
fter what at least I consider ten strong issues of RoughStuff,you might think we’ve exhausted the list of top talents
Rich Cirillo is a well known art collector, and he’s written a fun article for us about the hobby of collecting sketches and com-
missions built around a common theme, with images and comments contributed by several of the most visible collectors. I’ve
done commissions for most of them myself, and I included a couple here.Then the incredible Mike Perkins shows us his stuff.
Mike does pencils and inks, and works in a very realistic style that’s simply stunning. I met this British artist at a convention,
and was later surprised to learn he now lives in Lutz, Florida, very near my hometown,Tampa. I met artist EdgarTadeo (yet
another talented Filipino artist!) at Heroes Con last year, and asked him to send me some scans. His work is very impressive,
and he’s sure to win some new fans with his feature.
When RoughStuffwas first getting off the ground a couple of years ago, George Khoury gave me an interview he’d done
with Thomas Yeates, and I intended to use it right away, but new material kept pouring in and I’m embarrassed to admit I forgot
about it for awhile. Then I had already advertised other interviews and had to wait for the right issue to get it scheduled. It’s
here at last, and I updated it with some new questions on his more current, always beautiful work. He’s incredibly prolific and
always impressive.
We finish the issue with my “Rough Critique” of the mysteriously single-named Wattana. In a refreshing departure for me,
his sample page features a jungle girl’s violent encounter with a hungry lion, rather than the usual ever-present superheroes.
But I think this critique should be helpful to all artists struggling to learn how to draw comics. And lastly, we also have some
very interesting letters from our readers this issue.
As always, remember we offer a full-color version of RoughStuffin a downloadable PDF form at www.twomorrows.com for
just $2.95, and be sure to check out the “Rough Stuff” section of my own web site to see art that didn’t fit into the magazine.
And while you’re on the web, visit the sites of our featured artists:
Bob McLeod
Editor
mcleod.bob@gmail.com
www.bobmcleod.com
PO Box 63 Emmaus, PA 18049
2
ROUGH STUFF • WINTER 2009
in comics. Well, far from it! There are some very heavy hitters this issue. First up is the amazing Gene Ha. Bryan
Galatis serves up an interesting article on Gene developing a single page of JLA,and I was so impressed I asked
Gene to show us some more of his work. In addition to all of his other skills, I just love an artist who understands linear per-
spective. That’s much more rare in comics than you would think. Gene also takes us through the process of developing a cover
in our “Cover Stories” feature.
IN
TE
RV
IEW
GENE HA
E
very artist working in comics has their own individual approach to telling a story on the page. Their
methods evolve over time and are often adapted to a particular collaborator or project. Gene Ha has been
working in the medium since the early 1990s. Fans admire him both for his draftmanship, for the detail
Justice League of
America
#11, pg. 4
script page with
page layout and
panel thumbnails in
margins.
he brings to his backgrounds and environment, and for the emotional resonance he provides his characters. It is the latter
for which writer Brad Meltzer begged to have Gene hired as the artist for
Justice League of America
#11. “I knew we
needed him for issue #11. Emotion — true emotion — is the hardest thing to draw. [The
story] only works if the emotion is right.” In the story, entitled “Walls,” the characters
Red Arrow and Vixen are trapped under the rubble of a building (it is an homage to the
classic stories “The Final Chapter” in
Amazing Spider-Man
#33 and “Situation:
Hopeless” in
Secret Wars
#4). Throughout the issue, the panels decrease in size as the
tension increases, and Gene’s focus on character is placed firmly in the spotlight.
This is Gene’s approach to page four of
Justice League of America
#11.
BRYAN GALATIS:
I’ve heard you say that working with
great writers is of primary importance for you. Was Brad
Meltzer a writer with whom you’d been interested in
working?
GENE HA:
Honestly, I haven’t read a lot of novels or
superhero comics for the last few years. So I knew of
Brad, but I hadn’t read much of his stuff. I did have Eddie
Berganza’s assurance he was brilliant, and Eddie has
excellent judgment.
I started reading
Brad’s
JLA
run after I
got the assignment. He
was building up his story
like a novel over several
issues. There’s a strong
parallel with the story-
telling on my favorite TV
show,
The Wire
. You get
WINTER 2009 • ROUGH STUFF
3
A P A G E I N T H E L I F E :
By BRYAN GALATIS
[ Pobierz całość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl pingus1.htw.pl
All characters TM & ©2009 Marvel Characters, Inc.
84
1
82658 27766
6
Volume 1, Number 11
Winter 2009
Celebrating the ART of Creating Comics!
EDITOR
Bob McLeod
PUBLISHER
John Morrow
DESIGNER
Michael Kronenberg
PROOFREADERS
John Morrow and Eric Nolen-Weathington
COVER ARTIST
Greg Horn
FEATURED ARTISTS
7
Gene Ha
20
Greg Horn
CIRCULATION DIRECTOR
Bob Brodsky, Cookiesoup Productions
43
Mike Perkins
55
Edgar Tadeo
SPECIAL THANKS
Rich Cirillo
Mike Finn
Shawn Fritschy
Brian Galatis
Kasra Ghanbari
Gene Ha
Greg Horn
George Khoury
Dave Morris
Walt Parrish
Mike Perkins
Doug Resnick
Edgar Tadeo
Thomas Yeates
ROUGH STUFF FEATURE
34
Convention-al Wisdom
Rich Cirillo
ROUGH STUFF INTERVIEWS
3
Gene Ha
64
Thomas Yeates
ROUGH STUFF DEPARTMENTS
2
Scribblings From The Editor
Bob McLeod
16
Cover Stories
Gene Ha and Greg Horn reveal the process of creating a cover.
ROUGH STUFF
™ is published quarterly by
TwoMorrows Publishing, 10407 Bedfordtown Drive,
Raleigh, NC 27614. Bob McLeod, Editor. John
Morrow, Publisher. Editorial Office:
ROUGH STUFF
,
c/o Bob McLeod, Editor, P.O. Box 63, Emmaus, PA
10849-2203. E-mail: mcleod.bob@gmail.com. Four-
issue subscriptions: $30 Standard US, $40 First
Class US, $47 Canada, $70 First Class International,
$77 Priority International.
Please send subscription
orders and funds to TwoMorrows, NOT to the
editorial office.
Cover art by Greg Horn. X-Men
copyright Marvel Comics. All material © their
creators unless otherwise noted. All editorial
matter © 2009 Bob McLeod and TwoMorrows
Publishing.
ROUGH STUFF
is aTM ofTwoMorrows
Publishing. Printed in Canada. FIRST PRINTING.
84
Rough Critique
Editor Bob McLeod critiques an aspiring penciler’s sample page.
86
Rough Talk
Comments and opinions from our readers.
ISSN 1931-9231
WINTER 2009 • ROUGH STUFF
1
SC
RIBBL
INGS F
ROM T
HE ED
ITOR:
A
fter what at least I consider ten strong issues of RoughStuff,you might think we’ve exhausted the list of top talents
Rich Cirillo is a well known art collector, and he’s written a fun article for us about the hobby of collecting sketches and com-
missions built around a common theme, with images and comments contributed by several of the most visible collectors. I’ve
done commissions for most of them myself, and I included a couple here.Then the incredible Mike Perkins shows us his stuff.
Mike does pencils and inks, and works in a very realistic style that’s simply stunning. I met this British artist at a convention,
and was later surprised to learn he now lives in Lutz, Florida, very near my hometown,Tampa. I met artist EdgarTadeo (yet
another talented Filipino artist!) at Heroes Con last year, and asked him to send me some scans. His work is very impressive,
and he’s sure to win some new fans with his feature.
When RoughStuffwas first getting off the ground a couple of years ago, George Khoury gave me an interview he’d done
with Thomas Yeates, and I intended to use it right away, but new material kept pouring in and I’m embarrassed to admit I forgot
about it for awhile. Then I had already advertised other interviews and had to wait for the right issue to get it scheduled. It’s
here at last, and I updated it with some new questions on his more current, always beautiful work. He’s incredibly prolific and
always impressive.
We finish the issue with my “Rough Critique” of the mysteriously single-named Wattana. In a refreshing departure for me,
his sample page features a jungle girl’s violent encounter with a hungry lion, rather than the usual ever-present superheroes.
But I think this critique should be helpful to all artists struggling to learn how to draw comics. And lastly, we also have some
very interesting letters from our readers this issue.
As always, remember we offer a full-color version of RoughStuffin a downloadable PDF form at www.twomorrows.com for
just $2.95, and be sure to check out the “Rough Stuff” section of my own web site to see art that didn’t fit into the magazine.
And while you’re on the web, visit the sites of our featured artists:
Bob McLeod
Editor
mcleod.bob@gmail.com
www.bobmcleod.com
PO Box 63 Emmaus, PA 18049
2
ROUGH STUFF • WINTER 2009
in comics. Well, far from it! There are some very heavy hitters this issue. First up is the amazing Gene Ha. Bryan
Galatis serves up an interesting article on Gene developing a single page of JLA,and I was so impressed I asked
Gene to show us some more of his work. In addition to all of his other skills, I just love an artist who understands linear per-
spective. That’s much more rare in comics than you would think. Gene also takes us through the process of developing a cover
in our “Cover Stories” feature.
IN
TE
RV
IEW
GENE HA
E
very artist working in comics has their own individual approach to telling a story on the page. Their
methods evolve over time and are often adapted to a particular collaborator or project. Gene Ha has been
working in the medium since the early 1990s. Fans admire him both for his draftmanship, for the detail
Justice League of
America
#11, pg. 4
script page with
page layout and
panel thumbnails in
margins.
he brings to his backgrounds and environment, and for the emotional resonance he provides his characters. It is the latter
for which writer Brad Meltzer begged to have Gene hired as the artist for
Justice League of America
#11. “I knew we
needed him for issue #11. Emotion — true emotion — is the hardest thing to draw. [The
story] only works if the emotion is right.” In the story, entitled “Walls,” the characters
Red Arrow and Vixen are trapped under the rubble of a building (it is an homage to the
classic stories “The Final Chapter” in
Amazing Spider-Man
#33 and “Situation:
Hopeless” in
Secret Wars
#4). Throughout the issue, the panels decrease in size as the
tension increases, and Gene’s focus on character is placed firmly in the spotlight.
This is Gene’s approach to page four of
Justice League of America
#11.
BRYAN GALATIS:
I’ve heard you say that working with
great writers is of primary importance for you. Was Brad
Meltzer a writer with whom you’d been interested in
working?
GENE HA:
Honestly, I haven’t read a lot of novels or
superhero comics for the last few years. So I knew of
Brad, but I hadn’t read much of his stuff. I did have Eddie
Berganza’s assurance he was brilliant, and Eddie has
excellent judgment.
I started reading
Brad’s
JLA
run after I
got the assignment. He
was building up his story
like a novel over several
issues. There’s a strong
parallel with the story-
telling on my favorite TV
show,
The Wire
. You get
WINTER 2009 • ROUGH STUFF
3
A P A G E I N T H E L I F E :
By BRYAN GALATIS
[ Pobierz całość w formacie PDF ]