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Mar 27
2008

My life as the Hero High artist, part 2

Posted by Diego! in Hero Highcomic creation nationartworkArtist

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Hey everybody!

After the "pilot episode" of My life as the Hero High artist, here I come again.

So, Crackwalker's question on my last post was "I have wondered about the Vision Document - how much do you refer to it" 

So, considering that Crackwalker is the Hero High writer, sounds like I didn't exactly followed his details on the Vision Document ;)

For those a little lost, the Vision Document is a file where the writer details a lot of things about his/her script, like how each character should look, exemplified with an actor/celebrity/other media character, pictures of how the places should look, other comics/movies/tv series, etc, that can be related in some way with the script, even a bunch of songs that may work as the "soundtrack" for the comic book.  So, as you can see, you have enough detailed information to not misunderstand the writer's idea. 

So. How much an artist should/can refer to the Vision Document? In my case, I used the vision document as a base to start developing the general look of the book. Luckily, I've already seen most of the things named on the Hero HIgh V.D. before. But if I don't know any of the things named there, I'll try to investigate as much as I can. 

Probably, the hardest part it's (at least for me) developing the character design. I consider myself a disaster at drawing "real life characters", portraits, etc. But as the Vision Document uses as a reference for a character a "real life" person, I have to try to make him/her look similar on a way or another.  Not always works :P

Farley Flynn, the main character from Hero High, according to the Vision Document, should be based on River Phoenix. If you check the pin-up, you'll obviously realize that he don't look anything like River Phoenix...

That's because I'm an horrible penciler? Probably... but also because for my process on the character design. I start doing a bunch of "realistic" sketches of the character (in this case, River Phoenix) but then I start to "transform" him on a comic character. I have to draw Farley a lot of times olong the book, and if I don't make him become a character that you can recognize on every panel, it would be a mess. So I think the character must have a feel of this referenced celebrity, but also have his/her own look and personality.

I remember reading a Daredevil's book some time ago, and the artist, seems he worked with reference for each character on the same way we do here. But some funny things happened, like, Peter Parker has the Leonardo di Caprio face. Also, there was Angelina Jolie, Kate Moss, Lauryn Hill, and... well, you got the idea. The artwork was great, beautiful, but the characters faces where portraits of the references, and personally, I'm not expecting that when you will be reading Hero High, you'll say, "Hey!, here's Katie Holmes!"

So, the answer to Dylan's question would be: I follow the Vision Document a lot... at the begining.  Then, once I made the characters "mine", I really forget that Farley should look like River Phoenix or that Peggy should look like Katie Holmes. They are Farley and Peggy.

And last; the Vision Document also names, as reference, other comic books and artists. This is also useful to get an idea of the look, but at the same time, an artist have a personal way of doing things (well, there are a lot of people that works adapting themselves on other people's stiles, but it's not my way of working, really). So I try to consider the examples like "ok, that's the feeling I should give to my stile on this project".  I can't work like Darwyn Cooke even if I wanted to (not because I don't like it, in fact, I like his artwork a lot), it's just simply because my stile is different. But I can add the idea, the feeling that the writer is looking for, on my artwork.

So, that would be all for today. Any questions? any other thing you would like to know about Hero High or something else? Just write! 

By the way, any of you have checked the interview to Crackwalker by our fellow editor Alex? Check it right now!

Cheers! 



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written by mariathedreamer, March 27, 2008
Thanks for this insight into the relationship between the V.Doc and your process. I have found that for me, once I see Patricio's pencils of my character deisgns, I forget what I used to think they looked like, and I find myself dreaming up further dimensions to their personalities.

I find it incredible that you (and others) can create the character designs and then go on to draw those characters in wildly different actions and with a huge range of expressions, and all with such consistency. I am in awe.
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written by Titan.inc, March 27, 2008
That was a very cool insight into how you work. I definitely see where you are coming from with the design work and personally, I think you methods sound very sound. It's important to the artist to add some flavor to things as they are, in essence, co-authors in the piece being created.

Either way, good stuff. I like what I've seen so far and look forward to seeing more soon. To both of you, keep up the good work! :)
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written by MATT HOWL, March 27, 2008
What about the writer's panel descriptions, Diego?

You know my pitch; does my style (or Crackwalkers) help inform the artist on the *feel* of the scene?
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written by Crackwalker, March 27, 2008
Very insightful - and I have to say I couldn't be happier with the result. We've got pencils now up to page 12 - I keep looking at them every morning; it's better then a cup of coffee to wake me up!

Going into this I knew I wanted to have a true collaboration on the visuals, and Diego definitely grabbed the bull by the horns.
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written by Diego!, March 27, 2008
First, thanks everybody for your words.
About Matt's question, personally, I like when the writer is the most "descriptive" as he/she can. As much detail I have, the better for me.
But also, I think the writer must have in mind that, being this a comic book, where you have a lot of "pictures" on each page, it's imposible to show everything. I've seen scripts where the writer pretended to show a lot of things on the same panel, things that are imposible to do if you want to show a consistent shot.
One thing that helped me a lot about Crackwalker's way of working, was that he sketched all the book by himself, so, even if I do the final artwork on a different way, I know what's he looking for. As far as I heard, Alan Moore works this way, along with the script, he does sketches of every page. I think it's really useful, but also, it's important to let the artist work freely over this sketches.
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written by MATT HOWL, March 27, 2008
Mek also suggested writers storyboard their own pages to see what can and can't work on a single page.
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written by Diego!, March 28, 2008
Oh I didn't knew that.
Personally, I think it's a cool way of giving the artist a clear idea of what do you have in mind. I'm sure that while you write the script you make yourself an image on how, more or less, want each panel to look, and it's nice to see that sketched. It doesn't matter if the sketch it's not well drawn (that's why we are here!), but it works really well as a concept. At least, I think it works for me.
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written by DoctorNaberius, March 28, 2008
I kind of suspect I've been guilty of that ''impossible panel'' thing. Indeed, I suspect I may have been guilty of it on scripts you've drawn...

As I shake out how to adapt my screenwriting-derived style to comics, I think I'm gravitating toward more of a Chinese ink painting kind of approch where you describe a few key details and let the artist fill in the rest. I hope that doesn't annoy the artist. I know it does put a lot of weight on them as a collaborator in the process, and you have to trust their vision as well as your own.
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written by genrewriter, March 28, 2008
I've found that some artists want as many details as possible, while others just want a few key details, and most fall somewhere in between. The important thing is to talk to your collaborator and get to know their preferences, strengths, and weaknesses. With the Z2H process, it seems like there is a lot of communication between everyone involved, which is great.
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written by Tenzil Kem, March 28, 2008
I'm just at the stage of choosing an artist, Diego, so I'd like to thank you for presenting this information. It will help me to understand about the collaboration process. Best of luck to you and Dylan with the book! We are all eagerly awaiting the result!
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written by Diego!, March 28, 2008
DoctorNaberius: I've drawn a script for you? What's your real name?? yes, I've seen that most of the writers that describe "imposible panels" are people that comes from screenwriting. Something that is easy to show with a camera move it's imposible to do on one single panel.

Genrewriter: Agree. Comunication is the most important thing when working as a team.

TenzilKem: Glad it's been useful to you. of course, every artist is different, but considering some things would make a better book. We are also awaiting for the first images of your book!
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written by DoctorNaberius, March 28, 2008
Diego, I wrote the Biosfear short scripts, which I think you did a couple of - or am I mixing up my artists? I wasn't involved in the actual production process, just handed off the scripts and didn't hear much more about it until they were done.

But they were literally the first comic pages I'd ever written. NO idea what I was doing. If that was you, I apologize and hope they didn't drive you too crazy.
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written by Diego!, March 28, 2008
Oh! So it was you!!!! :)
Yes, I did one of your short stories, book 3, Darryl's one. But don't worry, it was really well writen. Yes, it had a lot of details and a bunch of stuff hard to do (mainly the city riot panels) but it was not impossible, just full of details :P
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written by Tenzil Kem, March 28, 2008
DoctorN, meet Diego.
Diego, DoctorN.

Oh, you've met.

Very cool.

Never mind.
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written by Crackwalker, March 29, 2008
One of the other things I was wondering about was the Soundtrack section of the Vision Document. I am a bit OCD and I am way into my music, and so I really sweated bullets over choosing the songs - I tried to keep it to a dozen or so. I'm wondering if you got a chance to listen to any of them? (If you didn't, I'll burn you a CD... seriously)
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written by Diego!, April 01, 2008
Yes, I've heard all of them! I even made a "Hero High Original Soundtrack" folder! It really helped to give a feel of how things must "feel".
The best song... The Ramones one!!! I heard The Ramones a lot when I was about 15/18 years old.
I don't know if you know this, but over here, The Ramones are as famous as bands like Rolling Stones. I know they are not so popular on their own country. But in fact, The Ramones last show ever was in Argentina!

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