http://www.shadowrobot.com/hand/
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A step back from Photoshop...
The layered and reworked comic art style by Jerry Moriarty shows traces of what was erased and painted over giving a false sense of motion to the artwork. The thought process of the artist becomes part of the message.
art by J. Moriarty from Jack Survives---------------------------------------------------------------------------
In Paris at the BD Artist(e) gallery, I got up close to a page of original comic art by Dave McKean that featured a reworked panel pasted on top of the page. Traces of the alternative dialogue and artwork could still be seen through the new addition on the panel below. The imperfection seen in the original art showed evidence of the human hand that would be lost during the print process.
http://www.bdartiste.com/
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An interview with UK based illustrator and comic artist Matt Timson
Matt Timson is currently illustrating the horror comic, Impaler.
Have you found working in the comic industry to have been a struggle in the UK?
MATT TIMSON:
It is quite a lot of work. Really, your only way in, in this country is the small press or 2000AD. 2000AD is obviously quite hard to get into; there’s a limited amount of spaces. Everyone has to start with a Future Shock (that has to be perfect) and you’ve only got a five-page story every ten progs or so, so it’s difficult to get in.
Do you do much digital work?
All of it is digital… It’s been about five years since I’ve drawn on paper and I’m actually finding it quite difficult now which is a terrible thing to admit, but I’m used to looking at the screen and adjusting something straight away if it’s not quite right, but paper is a real pain.
Do you find using digital media to be an advantage?
Ten or fifteen years ago when I first started out it was really a bit harder because your work really had to be on your doorstep, which was quite limiting…
Of course with digital and I don’t care who says it isn’t, it is easier; it’s a lot easier to work in stages. Fully painted art work like that (Impaler comic art) with traditional media it would take probably just as long but, if you’ve stuffed it up, you’ve stuffed it up. In some ways that’s kind of a good thing because once it’s done, it’s done and you can’t go back, because I keep going back. There are a lot of people, and I am one of them to be fair, who couldn’t have made it as a comic artist before. I can because there are lots of cheats, which I’m not going to show you. I started doing cartoons and that was quite easy; just draw and colour things in. From that I started to do this sort of thing (fully painted artwork) just for fun and the more I did it, the better I got at it and I realised one day, you know that’s it. I don’t actually need paper. Before that I was drawing things and scanning them in. I think if you can draw and you put in the time you can pick it up quite easily.
Do you think there are disadvantages to drawing digitally?
You get used to the fact that it doesn’t matter if you draw something badly because you can resize it and reshape it in Photoshop; it doesn’t matter. It doesn’t matter if that side of the heads wider than the other because I can just shrink it across and Bob’s your uncle but obviously I can’t do that in real life and I sat at home last night thinking I can just do a few sketches and urgh – I can’t be giving those to people (laughs). I thought I’d do some on the computer, print them out and trace them off which is a bit sad; it kind of defeats the object.
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