I’ve worked with a couple illustrators, Danilo Cappoli and Michael Choy, and try to develop a style that makes the piece as distinct and distinct as possible. When I’ve developed a style, I try to stick to it for years. There are a number of ways to make a character. Sometimes I just want to keep it relatively simple on the page. Other times, I want to push it and see how far I can get without being too heavy handed if it’s a single panel. Sometimes, you’ll try to create a style and then let people know that it’s not a style.
How much of each panel comes from your own inspiration and how much the comic is based on the character?
If I’m not inspired or have some reason to draw a certain way, I’ll try to work in a little bit of my own ideas, and make them distinct. At first I wanted to do a whole comic, because I’m not sure if it would be a good idea to have one single page per character. So, yeah. A part of it is the character itself. For example, here’s his face—it’s not always easy to do, but you get a lot of fun and a lot of detail when you draw him, and there’s nothing he can’t do. It’s a little bit of that from the original. I don’t want to go too much into the backstory, I just want to do the most fun thing I can, the most natural thing I can do. If you do it right, you’ll end up with something totally original.
Have you ever worked with a character from a comic before, and if so, what were your thoughts?
I worked on a couple of titles from a previous series. But not really. There’s also an episode of Futurama that I’ve watched, but I’ve never worked with it, because I want more than one time for this style. Futurama is good at that sort of thing. It’s an ensemble, so you never have to ask a lot of artists to do a lot of work with you. It’s good in a sense that, “Okay, if I need all the characters to look really well suited to me, then just do all that,” so it’s a bit more efficient and economical.
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