The ProfProfessionalessional “How-To”o” MaMagazinegazine on Comics, CarCartooningtooning and AnimaAnimationtion #33 Spring 2017 $8.95 IN THE US BILL SIENKIEWICZ THE LEGENDARY CCOMICSOMICS ARTIST AND ILLUSTRATORILLUSTRAAATTOR REVEALS HIS PROCESSOCESS JEFFREY WATTSWAATTTSS AND THE WATTSWWAAATTTTS ATELLIERATELLTELLIER OF THE ARTS PPLUS!LA US! REGULARREGULARR COLUMNISTS JERRY ORDORDWAYWWAAAYY JAMAR NICHOLAS AND MIKE MANLEY :G=:G=;K>M;E>OBGL ;K>M ;E>O BGGL 1 82658 00065 3 Batman, Joker TM & © DC Comics. THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS & ILLUSTRATION WWW.DRAW-MAGAZINE.BLOGSPOT.COM SPRING 2017, VOL. 1, #33 TABLE OF CONTENTS Editor-in-Chief • Michael Manley Managing Editor and Designer • Eric Nolen-Weathington BILL SIENKIEWICZ Publisher • John Morrow Mike Manley talks with the legendary artist about his Logo Design • John Costanza 3 anything-goes approach to comics and illustration Front Cover • Bill Sienkiewicz DRAW! Spring 2017, Vol. 1, No. 33 was produced by Action Planet, Inc. and published by TwoMorrows Publishing. Michael Manley, Editor. John Morrow, Publisher. Editorial address: DRAW! Magazine, c/o Michael Manley, 430 Spruce Ave., Upper Darby, PA 19082. Subscription Address: TwoMorrows Publishing, RIGHT WAY, WRONG 10407 Bedfordtown Dr., Raleigh, NC 27614. WAY—ORDWAY! DRAW! and its logo are trademarks of Action 38 Jerry discusses story continuity from start to finish Planet, Inc. All contributions herein are copy- right 2017 by their respective contributors. Views expressed here by contributors and interviewees are not necessarily those of Action Planet, Inc., TwoMorrows Publishing, or its editors. Action Planet, Inc. and TwoMorrows Publishing accept no responsibility for unsolicited submissions. All artwork herein is copyright the year of produc- JEFFREY WATTS tion, its creator (if work-for-hire, the entity which contracted said artwork); the characters featured Class is in session! Mike talks with the artist in said artwork are trademarks or registered trade- 44 behind the Jeff Watts Atelier marks of their respective owners; and said artwork or other trademarked material is printed in these pages with the consent of the copyright holder and/or for journalistic, educational, or historical purposes with no infringement intended or implied. This entire issue is ©2017 Action Planet, Inc. and TwoMorrows Publishing and may not be reprinted or retransmitted without written permission of COMIC ART BOOTCAMP the copyright holders. ISSN 1932-6882. Printed in China. FIRST PRINTING. This month’s installment: 69 The importance of learning by physically doing If you’re viewing a Digital Edition of this publication, PLEASE READ THIS: This is copyrighted material, NOT intended for downloading anywhere except our website or Apps. If you downloaded it from THE CRUSTY CRITIC another website or torrent, go ahead and read it, and if you decide to keep it, DO Jamar Nicholas reviews the tools of the trade. THE RIGHT THING and buy a legal down- 78 This month: Pocket-sized sketchbooks load, or a printed copy. Otherwise, DELETE IT FROM YOUR DEVICE and DO NOT SHARE IT WITH FRIENDS OR POST IT ANYWHERE. If you enjoy our publications enough to download them, please pay for them so we can keep producing ones like this. Our digital editions should ONLY be downloaded within our Apps and at www.twomorrows.com DRAW! SPRING 2017 1 BILL SIENKIEWICZ Interview conducted by Mike Manley and transcribed by Steven Tice Comic Book Illustrator DRAW!:6RKRZJRHVLWWRGD\":KDWDUH\RXZRUNLQJRQ OLQHV :KDW,·PGRLQJWKHUHLVSULQWLQJRXWKLVEOXHOLQHVDQG today in your studio? ,·PLQNLQJWKHPYHU\YHU\ODUJH BILL SIENKIEWICZ:,·PZRUNLQJRQVRPHLQNVRYHU P\IULHQG,DQ'RULDQ ,SURPLVHG,ZRXOGZRUNRQWKHVHULHV DRAW!: /DUJHUWKDQ[" KH·V GRLQJ +H·V D UHDOO\ WHUULÀF JX\ DQG D JUHDW IULHQG RI BILL: 2K\HDK $FWXDOO\WKHÀUVWRQHVLWZRXOGJHWXSWR PLQHDQG,·YHZRUNHGZLWKKLPLQWKHSDVWVR,·PHQMR\LQJ DURXQG[EHFDXVHLWDOORZVIRUVRPXFKSOD\ZLWKWKH WKLV ,·YHJRWRWKHUSURMHFWV,·PZRUNLQJRQWKDWDUHWDNLQJXS OLQHVR,FDQDFWXDOO\WDNHDUHDOO\WKLFNSHQ³,XVXDOO\XVHD DORWRIWLPHVRWKLVLVRQH,·PVRUWRIGRLQJDV,FDQWDNHWKH FKLVHOSRLQWPRUHUHFHQWO\ WLPHWRGRLW DRAW!: <RXPHDQOLNHD6SHHGEDOOOHWWHULQJSHQ" DRAW!: :KDW·VWKHVHULHV" BILL: ,W·VFDOOHGD3LORW3DUDOOHO3HQ>DFDOOLJUDSK\SHQ@ ,W·V BILL: ,W·VFDOOHGLaw of Resistance,WKDVQ·WFRPHRXW\HW PPZLGHDQGZKHQ\RXWXUQLWRQLW·VHGJHLW·VDKDLUOLQH -LP.UXHJHULVZULWLQJLW ,W·VDQLQGHSHQGHQWQRWIRURQHRI ,W·VOLNHLFHVNDWLQJRQSDSHUZLWKLQN³WKDW·VWKHZD\LWIHHOV WKHELJFRPSDQLHV ,·PQRWUHDOO\VXUHKRZLW·VDOOJRLQJWR :LWK,DQ,·PDFWXDOO\MXPSLQJIURPUHJXODULQNLQJQLESRLQWV FRPHWRJHWKHU ,·PVRUWRIWKHKLUHGVHWRIKDQGVLQWHUPVRI DQGZKDWQRW,W·VLQWHUHVWLQJZRUNLQJRYHUGLIIHUHQWSHRSOH ÀQLVKHVDQGXQOHVVLWFRQFHUQVPHGLUHFWO\DWFHUWDLQWLPHV :KHQ ,·P ZRUNLQJ RYHU 'HQ\V , KDYH D FHUWDLQ DSSURDFK ,GRQ·WUHDOO\SD\DWWHQWLRQWRDOOWKDW :LWKWKHSURMHFW,·P DQGZKHQ,·PZRUNLQJRYHU.HYLQ,·YHJRWDZKROHRWKHU GRLQJZLWK.HOO\6XH>'H&RQQLFN@ZHNQRZLW·V,PDJH And DSSURDFKDQGWKLQJV,·PWU\LQJWRSXOORXWRIZKDWKH·VGRLQJ WKHQ,·PGRLQJDEXQFKRIFRYHUVDQGVWXIIIRU'&DQG0DU DQGWKHQLQNLQJRYHU,DQEHFDXVH,DQ·VPRUHRIDVFXOSWRU³ YHOVR,·PVSLQQLQJDQXPEHURIGLIIHUHQWSODWHV WKDW·VSULPDULO\ZKDWKH·VNQRZQIRU³KLVZRUNKDVNLQGRID VFXOSWXUDOTXDOLW\,ÀQGWKDWZKHQ,·PLQNLQJ'HQ\V,·PLQN DRAW!:$UH\RXZRUNLQJRQKLVRULJLQDOV" Are you doing LQJDOLWWOHELWPRUHLQWHUPVRIJUDSKLFVKDSHVDQGSDWWHUQV blueline? Are you doing it digitally? ZKLFKDFWXDOO\ÀWVDOLWWOHELWPRUHZLWKP\RZQDSSURDFKP\ BILL:,·YHJRWKLVRULJLQDOVVR,·PZRUNLQJRQWKRVH And RZQVHQVLELOLW\ %XWZLWK,DQ,·PDFWXDOO\JHWWLQJLQWRGRLQJ ,·OO EH GRLQJ VRPH VWXII RYHU 'HQ\V &RZDQ DJDLQ VRRQ WKHDQDWRP\ 6RLW·VNLQGRIDQLQWHUHVWLQJDUUD\RIVW\OHVWKDW 0RVWO\ZKHQ,·PLQNLQJ,SUHIHUZRUNLQJRYHUDFWXDOSHQFLOV ,·PZRUNLQJZLWK -XVWDVZH·UHWDONLQJ,·PUHDOL]LQJRKP\*RG,·PGRLQJ a lotRIGLIIHUHQWJLJV ,·PZRUNLQJZLWK.HYLQ(DVWPDQRQ DRAW!:'HQ\VKDVDVRUWRI6HUJLR7RSSLLQÁXHQFHZLWK IRXUSDJHVDPRQWKRITurtlesDQGWKRVH,·PGRLQJRYHUEOXH WKHWH[WXUHV,XVXDOO\XVHWKHZKHQ,LQN%UHW%OHYLQVRU DRAW! SPRING 2017 3 Page 23 of Moon Knight #12 (left) inked with a Hunt #102 pen nib, and page 11 of New Mutants #29 (right) inked with a Gillott 1950. Moon Knight, New Mutants © Marvel Characters, Inc. somebody like that, but with Denys a stiffer pen seemed to fit BILL: On some of them, yeah. I actually have the ones, it’s that feeling. like 375 or something. I forget what the number is, but they’re BILL: Right. pretty flexible. They’re a little bit more like the 290s. But I bend the very, very tip up so that it’s got a little bit of an angle DRAW!: What are some of your favorite pen nibs? Do you to it, and it allows me to get thinner and thicker lines. I also use the old 102 standard? use these Sailor pens from Japan, as well. So I’ve jumped BILL: I use everything. I have a whole slew of pen nibs that from all different kinds of pens and brushes. Even working I try. I mean, a lot of times I’ll take marker pens, the ones with on one panel I’ll jump from one pen tool to another, because the fiber tips, and I’ll open them up, even if they say they’re I want a thicker line for, say, the strokes in a woman’s black pigmented, and flush out the ink and fill them with India ink hair. If I’m doing a small figure in the background, I might use so they’re permanent and don’t wash away. So I’ll get into a 102 or a 659 Gillott—one of the thin ones. I think the 659 some periods with those, and I find that at a certain point I is pretty similar to the 102 except it’s a little bit more flexible. kind of max out on the feeling of the fiber point, and I want But the 102, to me, is the standard. It’s the one I probably something that’s crisper, so I’ll go and I’ll work with a Gillott have used the most over the years. Between that and the 1950. 1950. When I was working on New Mutants, I was working I think the 102 is what I used mostly on Moon Knight, and the with that. I found that it was really good for crisp and angled 1950 was what I used most on New Mutants. My favorite tool lines, and it had a certain level of flexibility. But I use the right now is whatever I have in my hand, because I’m still 102, 107, 1950, 290, and 291. And then I’ve been using these always looking for the perfect tool. Esterbrooks, as well. DRAW!: [laughs] That’s one of the things I always found DRAW!: I have a bunch of those that I bought off of eBay fun about inking other people’s stuff rather than inking my years ago. I had a whole box, and they’re like nails. The metal own stuff is that you would maybe use tools or approaches on those is really heavy-duty. you wouldn’t necessarily use on your own work. 4 DRAW! SPRING 2017 Zen aspect to it, but it can also be monotonous, too, because continuity. If I went in and completely changed it up, like he it becomes formulaic. had veins on his costume and stuff, the people who have been BILL: Oh, yeah. To me the whole concept of inking and fin- reading it would go, “What is that? This is not what I want.” ishing is a misnomer anyway. To me it’s all drawing. So I feel like there’s a role that I am playing that I wouldn’t necessarily do on something else. DRAW!: Right. Because the best inkers of the old days were BILL: Oh, yeah, yeah. That I totally understand. When I full-fledged artists. They were just maybe not as dynamic inked Sal Buscema on Spider-Man, when they first approached with layout or, like, Frank Giacoia was very good, but he was me to do it, they asked if I could ink it like Scott Williams. supposedly too slow to do monthly stuff. But the guy was a And this is after I’d not been doing as much comics stuff. I great inker on somebody like Kirby or Buscema. was doing more illustration/advertising stuff. So when they BILL: Oh, yeah, absolutely. That’s totally the case. But what asked me if I wanted to do it, I was like, “Look, you’ve got the happens is you get into a whole thing of rendering a nose, and wrong guy for that. I’ll do it, but I’m going to see what Sal’s getting the highlight of that nose, and after a certain point it’s work says to me.” So I ended up inking it very, very bold and like, “Okay, I’ve rendered highlights on noses 15,000 times.