Wednesday, May 25, 2005
The Corner..... Robot Love and Chuck Gibson.
Robot Love drawn by me :)
Well guys firstable some words!
Dear Chuck you know that I really admire you as a person and is great to work together!
I am repeating my presentation of Chuck in the project and I am including an interview I will have in the following days.
He is a really smart guy! Read the interview and you will see that!!
When I started the process of Robot Love I never expected to be with people I admire and also respect.As you have seen our nice Ron Fortier beign always so polite and gentle with me, and now another person is getting aboard the journey: Chuck Gibson.
Well this is one of the happiest times about being with a person who has been a great person over all these years,a friend and also a person that with his example of life has taught me about how to become a better person,things I won`t do that He had to pass through , also not to take things for granted and the way to be extremely cautios and become more mature and smarter as a person and artist.He talks the ways He feels and I have to be honest I really like his hyper realistic way of thinking.This is his Bio and soon I will have a whole interview to him, so you can know more the insights of the great risk of becoming a Pro in the medium and know him better.
Chuck Gibson was discovered in the 'second wave' of the Homage Talent Search in 1994 and hired by Jim Lee. Chuck remained with Homage, which became Wildstorm, for three and a half years as an inker working on nearly all of the titles they published at one time or another. Chuck's Wildstorm credits include Wetworks, Grifter, Wildcats, Savant Guarde, Backlash, and many others--along with more trading cards, pinups, and promotional illustrations than even he can`t remember. Chuck went freelance in 1997 and has since worked for a number of companies including Crossgeneration comics where he inked the Silken Ghost Mini series. He lives in Roswell, New Mexico and his hobbies include sleep deprivation and writing about himself in the third person. :)So thank you Chuck for the back up and being with us!!!
First part of 3.
JESUS ANTONIO:Tell all these fellas The importance of inking
CHUCK:Inking is the work that the fans see in print---period. You read in letter columns and such where people make comments about a certain panicles work----by and large, most of them will never see the pencils. You might have an indication of what the pencils might've looked like depending upon whether that artist has ever inked their own work---but really even then you're looking at an interpretation of the pencils done in ink.
JESUS ANTONIO:How do you define your inking work?.
When you were a newbie in the medium.
CHUCK:When I was new I barely knew what I was doing at all. I could do a clean line in a consistent manner that somewhat resembled what Terry Austin's work at certain stages of his career. I had no idea of how or where to USE that line or anything else. All I knew how to do was 'noodle' more than what the penciler had put down and to do it in a clean manner. Fortunately for me, in the early to mid 90s, the industry was so badly in need of inkers that any warm body who could hold an inking tool better than the average monkey got work. That was me all over.
When you were in Wildstorm
CHUCK:After a time at Wildstorm I developed a degree of technical expertise with the tools of inking. The problem was that the development of your own personal style and versatility as an inker were somewhat discouraged at Wildstorm at that time. All the pencilers you worked with wanted you to ink like Scott Williams----and most of us there were young and heavily influenced (and rightly so) by the quality of Scott's work and went right along with that program.
Now that you are in the freelance way.
CHUCK:It's really only been as a freelancer the last several years that I've been able to branch out and become any sort of fully developed inker. I can handle a much wider variety of styles now. I have a better understanding of how to draw and it allows me to be more in tune with what the penciler is trying to do with anatomy or other things rather than just 'trace the line that's right here--but do it cleaner' as I've done in the past.
JESUS ANTONIO:What is the way you interact with the penciler about approaching pages?
CHUCK:I really try to avoid interacting with pencilers as much as possible now with a few exceptions. I find it's better that way. When I worked with Crossgen on Silken Ghost, I'd never even SEEN Will Rosado's work before that and had certainly never talked to him about how he thought his work should or shouldn't be inked. I inked the first issue with my only input at all being from the art directors at Crossgen, who basically just cheered me on in what I was doing. Later on of course I found out that Will had also been quite pleased with it. I think there's a difference between what kind of job I do over a penciler if I go in with a perceived expectation of what I SHOULD do, rather than if I go in with no information and just try to do what my own instincts tell me is right. I'm much more relaxed and feel more comfortable with doing the work if I'm given free reign to do whatever I think is appropriate. Very often in my career, this hasn't happened and has led to some awkward work from me because I'm trying to fit a 'mold' that someone else has told me they want---sometimes against my own best judgment of what should be done.
JESUS ANTONIO:We both know you have also a very good sense of art and You are a solid penciler and inker what are your influences when
CHUCK:Well, my 'default' style as an inker is still very much based on what I learned from studying Terry Austin's work and what I learned from talking to Scott Williams. Now---if I see a guy who's obviously trying for something very soft like an Alan Davis sort of rendering style or something like that, I'll pull out the brush and try to go along with that----you really can't just say 'I ink like THIS no matter what and I'm not even going to try to adapt to what you're trying for here'----every time I've seen an inker do that as a fan, it's usually resulted in bad work. You can't take a guy who's trying to draw with a softer look like a Frank Frazetta and then turn around and try to ink that like Terry Austin might've----that's going to be a train wreck if you do it like that.
CHUCK:I'm really just trying to concentrate on the bare bones basics when I'm drawing now. Form--proportion--lighting and how it falls on the forms portrayed--perspective. If I had to break it down to a formula---in my concept/thumbnail stage, I'm thinking of things like the Batman animated style or someone like Sal Buscema's later work on Spider-man mainly---just shape, composition, _expression and action.
When I move along to the layout stage, I'm thinking of Gil Kane or someone like that---guys who are very solid structurally and are conscious of anatomy. I want all the shapes right and everything in the right spot before I flip on the lights and figure out where the shadows will fall and how to render it.
The finished pencils are probably what give me the most problems. I'm so influenced by so many different influences, I don't have a really distinctive look I can call my own. One week I'm trying to finish it off to look like Jim Lee, the next week, I'm looking at Howard Chaykin and want to do something 180 degrees in the opposite direction with the finished art.
CHUCK:I really haven't done much painting since my high school days. Back then it was a lot of work with acrylics and watercolors with VERY little guidance as to how these mediums should be used. The nice thing was that the materials were provided and you could experiment---the bad part is that you didn't have anyone who could really help much in showing you what to do with them. It was a lot of trial and error and you either 'caught on' to the medium you were trying to use on your own or you didn't. I haven't really painted in years and really don't feel a desire to at this point. When I feel like I've learned to draw better, at that point I'll put some thought into color theory and maybe take another whack at it----but for now, I'm still trying to get what I do in black and white the way I see it in my mind without even trying to complicate the issue with color harmonies and the like.
End first part of 3
Have a great day!!..JESUS ANTONIO