"The Evil Underground" in productionPosted: November 17, 2010
If you haven’t been keeping up, I’m doing a comic book (ahem, graphic novel) about the life and work of Richard S. Shaver, the artist, writer, conspiracy theorist, outsider, etc. (chapter 1 was previewed here).
I haven’t tried to draw a comic book in something like 30 years, so I’m learning as I go along. But it’s been a very interesting learning experience, although it’s a lot harder than I thought it would be.
I started by trying to write out what I would have happen in the series, but that made it kind of difficult to imagine and I found myself writing things like, “1) Richard thinking, “I’ve got to figure out what is happening…” Foreman: “Get to work!” 2) Richard (working)”All right, all right.” I just didn’t think that kind of script would be very helpful.
I then started doing pencil sketches on notebook paper — just fast scribbles — as an outline. In this way, I could think about and work on pages as a complete unit. I’m not tied to a specific page count or layout, but I want to avoid having a particular interaction between two characters end on a page where the viewer/reader will have to turn the page to resolve that interaction.
Below is a sample page. This is page 1 of chapter 2.
I decided that the first 2/3rds of every page 1 of each chapter would be taken up by a ‘splash’ panel that sort of introduces each chapter. Between the time I drew the rough layout (above) and the chapter 2 page 1 (below), I decided to make the art of the ‘splash panel’ refer somehow back to the cover of one of the pulps. The splash panel from Chapter 1 was based on an Amazing Stories cover from one of the early issues that had the Shaver Mystery in it. The splash panel from chapter 2 is based on the artwork from another pulp from 1938 (can’t remember the title right now, but I’ve reproduced the art below (last picture in the thread).
After I have my rough layout, I begin drawing the panels on bristol board. I initally use hard pencil to rough out the panels and figures, then add the lettering and then try to improve/tighten up the drawing. When the pencil roughs look pretty good, I use a pen to ink all of the letters (lettering is my least favorite part), then I go in with brush, nib pen and a fine tip magic marker (usually in that order). Finally I use a little china white to cover any smudges or add white highlights. As you can see, I made a few changes between the ‘rough’ version and the inked art below. Instead of the woman being tortured (above), I borrowed the girl in chains being menaced by “Igor” (below) with some sort of furnace/idol in the background. In the panels below, I made a few changes, including giving Shaver’s wife more of a 1930s contemporary hairdo. There were also some small changes in dialogue.
Finally, below is a copy of the artwork I used for the inspiration of my chapter 2 splash panel. It’s a fairly typical pulp cover from the 1930s… you have a ‘mad scientist’ type lowering a woman into a glowing vat of some kind in the background while a girl chained to some girders is being menaced by a defective in the foreground. I liked the woman’s pose and thought the defective could model as a stand-in for one of Shaver’s dero. In case anyone is wondering, this picture was the model for the splash page of chapter one.