Coloring Between The Lines: Mat Lopes

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Hello Revuers! It’s time for another exciting segment of Coloring Between the Lines. Where we interview a Color Artist who is making an impact in the industry today. This time we have the fantastic Mat Lopes with us. Mat was gracious enough to answer some of the burning questions we here at Deja.Revue had for him. Mat is among the elite in the game today working on such titles as Star-Lord annual and Batgirl. So without further ado.

 

  • How long have you been a colorist?

Well, if you mean as a professional, the first time I published was in December of 2011, but my first paid, regular job was only in July of 2012, so I guess that makes a five years old career now. However, I think I’m coloring on my own since 2009.

 

  • Was it what you wanted to be when you were a kid?

No, I wanted to be soccer player, hahaha! As a Brazilian guy, I can say we’re not all soccer fanatics around here, but I most definitely am. Art came a little later in my life and for a long time I just thought of it as a hobby. I didn’t even know my job existed until I was 17 or so!

 

 

  • What’s the first comic book series you really got into?

You know, I started reading comic books later than usual for a comic professional. I’m a 90’s kid and, in my childhood, mangá was so much popular and easier to find here that I only discovered comics as a teenager. I can’t remember exactly which series I got into, I just remember being blown away by a whole new universe and all those colors, so I just started read everything I could. But if I have to name some titles, definitely Spider-Man, X-Men, Batman and such.

 

  • Do you prefer superhero comics or other genres?

Hard to say. I think right now I’m reading more other genres than superhero, but I love them both!

 

  • Who is your favorite superhero?

Batman.

 

  • Who is your favorite non superhero character?

That’s a tough one! I actually don’t think I have one.

 

  • What’s your favorite series that’s not a superhero series?

Hahah, that’s a little lame, but I gotta go with a comedy mangá called Love Hina. So funny!

 

  • What is your process like for coloring?

First I get everything I have available and take a really good look at it. And by that I mean script, notes, concepts, references, pages etc.

After that, it depends. If we are starting something new, I really like to talk to the writer and artist and discuss about the book itself and everything that goes in it. It’s great to chat about the story, the genre, the rhythm, the approach of the art. I really try to understand what the artists and writers will be trying to say and find out how can I help to make it even clearer. That way I start to build my palette , my style of render and my whole approach in my head.

Once everything is clear to the whole team and me, I’ll send the pages to my flatters and after they’re done I start to work on the pages.

Of course many times we can’t have this whole process because of the deadline, or because it’s a fill in or just a one shot. In that case I’ll just see some references and go with my feeling.

 

  • How do you choose a color palette?

Complementing last answer, I’ll have to consider the specificities of the scene: If it’s day or night, if it’s natural or artificial light, what’s the mood of the whole scene, what’s important to emphasize, the planes I have to separate. After figuring this all out, I have my palette!

 

 

  • What’s your favorite project you’ve ever worked on?

Hahaha, I can’t choose that! One of the great things about being a colorist is to work with so many artists with different styles on different projects! So for me often is apples and oranges, and I love all of them.

 

  • Who are some of your favorite colorists in the industry today?

Wow, there are so many great people out there, but I think some of my favorites today would be Dave Stewart, Justin Ponsor, Matt Wilson, Nathan Fairbarn and Elizabeth Breitweiser, not in any particular order!

 

  • Is there anyone you draw inspiration from?

Of course! But not just one person or even one medium. I get inspired by a lot of things, such films, paintings and illustrations of any kind or style. And of course, comics as well.

 

  • I’ve personally really enjoyed your work on Batgirl. Color plays an important role in that book. How did you build the aesthetic for that book?

Thank you!

I tried to match Chris Wildgoose’s style for the render, so nothing too detailed. And since it’s a light, teen kinda of book, I keep a light and colorful palette for the most part of the story.

 

  • What’s the biggest difference between working for the big two and on your indie titles?

I don’t see much difference, to be honest. I mean, the editors who contact me know what kind of styles I usually do, and after we sort which directions we’re going, I have a lot of freedom on the book. Of course sometimes they ask for changes on certain things here and there, but I’d say that in 90% of the times their suggestions works very well and make my work look better!

 

  • You have a very distinctive visual style, how did you cultivate that aesthetic?

I don’t know. I never tried to cultivate one style specifically; I always trained and studied very hard to match my colors with as many different art styles as possible. First because of the necessity: since I was trying to be a professional, in my head my chances would be better if I could color “everyone” in the industry. So while I practiced over artists like Ivan Reis and Eddy Barrows, I also tried to be a good match for guys like Rafael Albuquerque, Matteo Scalera and others. I think I learned a lot from never repeating the same style over the same artists. “My style” definitely came after I started to work regularly. With the experience I was acquiring I started to discover more about me as an artist, which things I was better at, what I liked doing the most, and that kind of thing. After that I think I just focused more on my “interest area”.

But you know, I still love coloring a lot of different styles! It’s like ice cream: my favorite may be chocolate, but that’s no reason not to taste all the other flavors! Hahah.

 

Next I’m going to ask you a series of Either Or questions. Ready? Ok, go!

 

  • Star Wars or Star Trek

Star Wars.

 

  • Coffee or Tea

Coffee every day.

 

  • Batman or Superman

Bats!

 

  • Wolverine of spider-man?

Our Friendly Neighborhood Spidey.

 

  • Noir or Horror comics?

Horror

 

  • Burritos or coneys?

Burritos

 

  • Where’s your favorite place to pick up a burrito or a coney when you’re at cons?

I’ve never been on a US convention, so I can’t really tell! Hahah. In here they don’t usually have them.

 

  • What’s your favorite convention?

Comic Con Experience, which happens in Brazil and it’s amazing!

 

  • What would be your dream collaboration?

I have some artist’s I’d love to work with, like Sean Murphy, Chris Samnee, Rafael Albuquerque, Olivier Coipel and Bilquis Evely. These last two I already worked with, but only on small stuff! I want to color so much more of them, hahaha.

 

  • If you weren’t a comic book artist what would be your career?

I would probably work with technology, since that was what I was studying before my career on comics started to get on tracks. Programming, most likely.

 

  • Who are some of your favorite artists to work with?

Luckly I already worked with a lot of great guys like Bilquis Evely, Felipe Watanabe, Martín Morazzo, Chris Wildgoose, Olivier Coipel, Leonardo Romero, Niko Walter, Vic Malhotra…

 

  • Who are some of your favorite writers to work with?

William Prince , Hope Larson, Sean Mackiewicz, Matthew Rosenberg, …

 

  • Who’s your favorite character to color?

Probably Robin (Damian) or Batgirl (Barbara Gordon), they have such cool costumes!

 

  • What would be a dream series for you to work on?

I think the creative team speaks louder to me than the series itself, but it would be really cool to work on Batman.

 

  • As the comic book industry moves more digital do you feel like there’s been a shift in the industry to recognize the importance of Color Artist?

I think that more than tools for coloring, our digital age has given voice to the professionals behind a comic book. Suddenly  it’s a lot easier to hear from creators so it’s easier to follow them and their work, especially if they are united for a cause, like cover credits and royalties . I think it’s only natural to recognize and respect someone once they are not in the shadows anymore. But yeah, I’m not doing this for that long, but I can already tell the difference from when I started coloring, from fans to editors and even reviewers. Things are not perfect, but there is definitely an improvement regarding color artists (look, we are artists too, now!).

 

  • Do you have anything coming out soon that we should keep an eye out for?

Yes! In fact, the only thing I’m working regularly that you can read right now is Batgirl, from DC. But a new series for Skybound just got announced, it’s called Gasolina and it’s written by Sean Mackiewicz with Niko Walter on the art duty and it will be coming out in Setember ! Also, I’m working on new project with the creators of The Electric Sublime, William Prince and Martín Morazzo. Finally, I’m also coloring a book for Marval that I cannot talk about it, but keep your eyes open, you’ll hear all about it very soon.

 

  • Thank you for your time Mat, I’ve enjoyed talking to you. Looking forward to your great work in the future.

Thank you very much!

 

 

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Coloring Between the Lines: Marissa Louise

Hello Revuers! Its time for another segment of Coloring Between the Lines where we interview a Color Artist that’s making an impact in the industry. This month we have the uber talented Marissa Louise. You may recognize her style from her works on such titles as Semiautomagic, Escape From New York, Robocop, Headspace, and many more. Marissa was gracious enough to spend some of her valuable time answering questions for us! For that we are very appreciative. Now without further delay:

 

  • How long have you been a colorist?

It can be a kind of funny number to quantify, but I started working towards in when I was 30. I was a flatter for some great people for the first year and a half. That’s how I learned photoshop. Prior to that I was doing art with gold & hand made oil paints. Lemme tell you, photoshop is a lot faster.

  • Was it what you wanted to be when you were a kid?

If I had known it was an option I would have been all over it! But I didn’t, so I wanted to be a mortician, the work is steady but the paycheck is stiff, or a biologist. I have dyscalcula, you know Dracula’s more irritating sibling, so I thought I could do all the maths for those jobs.

I spent a lot of time copying the drawings out of comics. Some where in the cracks of my old house there are loads of drawings of Ghost Rider and Wolverine.

  • What’s the first comic book series you really got into?

Hmm. That’s tough because I have a terrible memory and remembering things from 1988 is really hard! But I think it was probably Malibu’s Ferret. I think I liked how mean the women were to him. But it was also just goofy stuff with cool coloring. Other than that I really like Ranma ½ I would get it at the Japanese market. Or I’d get Hellboy or Oh My Goddess! and a lot of other Dark Horse books from the library. I loved Mike Mignola’s Bram Stoker’s Dracula.

When I was in college I got quite a few of the old EC books. Those are all really wonderful. I got a little more into rah rah woman stuff then too. Like Tits & Clits or Twisted Sisters. Along with wild zines kids were making at Pratt to really screw around with the physicality of a book.

  • Do you prefer superhero comics or other genres?

I like them all! For me the pieces need to make sense with the whole. I tend not to prefer comics that are trying to be movies, since they are fundamentally different forms. But I love Squirrel Girl as much as I love Roman Muradov’s Yellow Zine. I love early Spider-Woman as much as I love Pete Tom’s books! Georgia Webber does really great things with the form and Justin Ponsor/David Marquez draw the human form stunningly. Sunny is a really amazing comic.

  • Who is your favorite superhero?

I really liked early Jessica Drew (Spider-Woman). She really tried to help everyone out at her day job and her night job. I think the costume is just stunning. Catwoman is classic, though she may not count as a superhero. I really like what the Squirrel Girl team is doing. Does Zodiac Starforce count as superheros? They are really great characters. I feel like I have a piece of each of them in me.

I really love Empowered. The drawing is genius and I really love the way Adam gracefully pulls the viewer’s eyes to Emp’s face. Cankor is really amazing if you haven’t found that. It’s printed by Matthew G Allison, you have to find him at a con to get it.

  • Who is your favorite non superhero character?

Urd. She’s from Oh My Goddess!, she is all about chaos and playing with cute mice!

  • What’s your favorite series that’s not a superhero series?

I listed quite a few, but I can list more: Nutmeg, Hopeless Savage, Tekkonkinkreet, American Born Chinese, Lady Killer, Shutter, The Big Book of series, my friend Jon Rivera did some really cool comics while we were in college called Heartbreak.

  • What is your process like for coloring?

I’ll either flat it myself or send it to a flatter. I prefer to print out my scripts. I just have a hard time marking them up or testing ideas in the margin if they are digital. So I highlight those with different markers for time of day/color notes/environmental notes. Annote ideas in the margins if I have time. Then hopefully I have all the pages. I like to do the hardest parts first then I build everything off of that.

So right now I’m working on a battle scene. After that is colored I will color the preceding & following pages to amp up & release the tension.

Different books require different rendering styles. So I have a really hard time switching between books. It’s like if you’re speaking Spanish then someone asks you a question in German. Who knows what will come out of your mouth!

Once I turn in pages I do edits.

If you follow my twitter you’ll know I’m trying the Pomodoro technique now! I track all my time and take quick breaks. It has been really wonderful!

  • How do you choose a color palette?

Same as any other problem. Identify the parameters first. Identify the locations, clothes & emotion’s you’ll need. From those parameters make sure the palette has enough contrasting colors. You want 0%-75% grey value in a variety of warms & cools. I’m still playing with different techniques like creating color wheels based off two colors or just mixing out colors like I would on a paint palette. And of course there is always good old fashioned borrowing. I like to borrow from John Watkiss, Leonor Fini, Peter Hailey, Delacroix, Gericault, Ingres, and basically whatever I can get my eyeballs on.

  • What’s your favorite project you’ve ever worked on?

Ooh. That’s a toughie! I’ve really enjoyed a lot of the projects I’ve worked on. But I think Broken World was extra great because I got to do a lot of story telling in the color. The team worked really closely to enable that. Semiautomagic was great because Alex really let me go wild and of course, Jerry is a great artist. I’m still really proud of a lot of Escape From New York. The licensor wanted the coloring to be very desaturated to match the look of the film. I think I was able to do a lot with restricted palettes.

  • Do you have anything coming out soon that we should keep an eye out for?

Yes! But some of it I can’t tell you about yet. If you haven’t picked up Mystery Girl, I really insist you do. All of you out there! Paul Tobin was able to take some amazing and strange writing risks with it. Alberto’s drawing is great. I’m getting to do cool things with color. The series I have over at Stela is pretty cool. Hopefully the penciller, Tony Talbert, and I will get to work together more in the future. We really feed off each other. We’re trying to get Deadhorse going again and Miranda Mercury! Those are super cool indie books. I love them both.

I also have a Kickstarter for Semiautomagic that will be coming up next month so keep a look out for that!

I am also writing essays for Women Write About Comics. Those are slow going though, since coloring deadlines come first.

And of course my non profit, Joon, is always doing cool things! We’re holding a fundraiser in February and lots of cool events at Emerald City and other conventions throughout the year.

  • Who are some of your favorite colorists in the industry today?

Talk about your loaded questions! I’ll list some, it won’t be everyone because I have a terrible memory: My mentors Nolan Woodard & Bill Crabtree are both stunning. Justin Ponsor, Tamra Bonvillain, Kelly Fitzpatrick’s work on Bombshells with Sandy Jarrell was really exceptional! Bettie Brietweiser on Velvet, Sloane Leong, Shari Chankhamma, Paulina Ganucheau, SainaSix is mostly an illustrator but she does comics & has a great color sense. I’ve been trying to convince Jen Bartel to color, but I think she’s mostly going to stick to only coloring herself. Paul Reinwand is another person who colors themself & has a great color sense. I sort of veered away from coloring only people here, but I’m trying to list people that your audience may not have seen much of yet.

  • Is there anyone you draw inspiration from?

Oh yeah. Everything. I keep my window open while I work so I can watch the light change across the building. When I was in NYC there was this green factory outside my window. I loved all the different greens it would become throughout the year. And the strange reflected light it would create. I love animals and fashion. Of course painting! Since that’s what I went to school for.

  • I’ve personally really enjoyed your work on Escape From New York. How did you pick out the palette for that book?

Thanks! I really like that book. When I was testing out they wanted the book to be very desaturated. So I made a full range of greys without black in them. So a warm set of greys, cool set of greys, tan set of greys, more blue set of greys. Then a set of semi desaturated blues and reds. Then a lot of the color on that book is what is called induced color. Tricking the eye into seeing yellows and blues when it is mostly grey.

The exception to that is Florida. The way the script was written it was very clear that Chris wanted Florida to look opulent & have tropical colors. So I look at Floridian murals & animals to develop that over the top palette.

  • I also really enjoy your Cover art work as well on Titles such as D4ve. What are some of the unique challenges between coloring Covers and whole Issues?

Covers have got to scream at you from the shelf. And they have to scream in more charming ways than the other covers. So I try to create palettes that are high contrast, but also interesting. I want something that gives the viewer an immediate emotional kick.

  • Burritos or coneys?

Always coneys.

  •  Where’s your favorite place to pick up a burrito when you’re at cons

My shameful confession is that I haven’t had a burrito in since I was 27. Yikes! I am hoping this year is the one where I get to change that.

  • What’s your favorite convention?

Heroes and Emerald CIty are both amazing! I haven’t been to many around the country. So I don’t have the most refined opinion on this.

  • What would be your dream collaboration?

I mentioned before I’d love to work with Tony Talbert again on something. It’d be really stellar to get Alex de Campi writing a Barbarella sort of thing for us. That would get really weird really fast and I think it would be really fun! I would absolutely cherish working with Trungles on something. Doing mermaid story with Anna Sahrling-Hamm or Jessi Sheron. Working with Vanessa Del Ray on a Vampirella comic would be cool. I’d really love to do anything at all with Wilfredo Torres or Tradd Moore. If I could get James F Wright to write a licensed Elvira comic that would be amazing!

  • If you weren’t a comic book artist what would be your career?

I think I’d probably have to go back to fabrication.

  • What’s the biggest difference between working for the big two and on your indie titles?

They have inverse relationships of time and money. I really enjoy the freedom of indie titles, but big two have much larger marketing reach. On a lot of indie stuff in my experience you get more time & less oversight, but also less money. The unfortunate side of that is you need to take on more projects to make ends meet, so you don’t always get to use the extra time effectively.

  • Who’s your favorite character to color?

Oh gee. I guess I don’t really have one. Every character and artist has special things about them. It’s very easy for me to find things I love. I’m very thankful to be a colorist.

  • What would be a dream series for you to work on?

It’s kind of weird, but really, I would freak out if I worked on a licensed Elvira comic. Especially if I got to work with Cassandra Peterson. She is a huge idol for me. And she is one of the sweetest people I’ve ever met! This would be ideal for me because it would be campy, sexy, scary, psychedelic and funny. That dagger isn’t just for show, you know.

  • Thank you for your time Marissa, I’ve enjoyed talking to you. Looking forward to your great work in the future.

Thanks for having me!

If you would like to check out more of her work you can visit her website, Twitter, or her Facebook

And if you would like to purchase some of her work ask your LCS about any of the titles mentioned above, or check out Comixology

Coloring Between The Lines: Jason Lewis

Hello Revuers! When I came up with the idea for this segment I had no idea how big of a success it would be. I am truly excited to see that others care about great color in their comics!Being a Color Artist can be an overlooked profession, however in recent times a lot of progress for the recognizing of Color Artist has been made. This feature will continue to add another voice to the clamor and appreciation for excellent color in our comics.

This month we have the very talented Jason Lewis. You might recognize him from Morning Glories, Drive, or Hell Yeah. He has a very distinctive and strong palette. We here at Deja.Revue are grateful to Jason for sacrificing his time to answer our questions.

If you want to check out some of his work check out his Tumblr: lewisjasonr.tumblr.com

Or his twitter: @lewisjasonr

 

  • Hello Jason, thanks for agreeing to this interview! How long have you been a colorist?

About seven years.

 

  • Was it what you wanted to be when you were a kid?

Being a freelance comic colorist really didn’t exist when I was a kid. Up until the mid 90’s coloring a comic was a job of the publisher’s production department. Back in the really early days the printer would sometimes choose the colors.

When all the independent publishers rose to prominence and computer coloring became a thing in the 90’s, each company had their own in-house coloring department. From there people broke off and formed their own coloring houses like Liquid and Digital Chameleon. When Crossgen and few other indies imploded in the early 00’s the market became flooded with untethered colorists and for the most part the coloring houses went away. So in the long history of comics the freelance colorist has only come into being in the last 15 years or so.

I wanted to be a comic artist as a kid, but when I got to college I realized I wasn’t quick enough and was too dependent on reference to make it as a penciller. Instead, I trained to be an illustrator. I also studied desktop publishing and after graduation I found work as a graphic designer.

When the economy crashed and ate my graphic design career I suddenly had a bunch of time on my hands. I decided to get back into painting and revamp my illustration portfolio (I never really cared for graphic design, honestly), but all my old painting supplies where in storage at my parents place and I didn’t have enough cash to re-buy them. I did, however, have my computer and all the programs i used for graphic design. Rationing that whatever I painted I’d have to scan into the computer anyway I decided to investigate how to cut out the middle man and learn how to paint with Photoshop. I used an Amazon gift card I got for my birthday to buy the cheapest Wacom tablet I could find and a couple of basic books on computer coloring and got to it.

I got hooked instantly and began spending my days practicing and researching online how to color comics. Finally, I had found my place in the comic industry. I began networking with professional colorists and about four months after I bought that first Wacom tablet I found myself re-mastering old comics for Marvel full-time.

 

  • What’s the first comic book series you really got into?

The first comic I ever bought was an issue of Iron Man as a small child because I’d just seen Star Wars and I thought he looked like C-3PO. Shitty as it may be to some, the first Secret Wars from the 80’s will always be my favorite series.

 

  • Do you prefer superhero comics or other genres?

I like all comics, but Superheroes are where the real money is so I like Superheroes a lot.

 

  • Who is your favorite superhero?

Whoever they’re paying me to color currently.

 

  • What’s your favorite series that’s not a superhero series?

I dipped out of comics while I was in art school. They didn’t vibe with the arty, emo punk identity I was crafting for myself. I got a subscription to Wizard as a gift so I was always up on what was happening, but if it wasn’t for Sandman and then Preacher I wouldn’t have made the trip to the comic shop every month for years. So those two.

 

  • Whats your process like for coloring?

Wake up after taking a a three hour, unintentional nap. Check my email and social media to see what fresh, new hell the day has in store for me. Gab some coffee and stress about how i’m going to fit in basic life responsibilities with all my deadlines. Turn on music/podcasts/Netflix then work for the next 20 or so hours stopping briefly to attend to unavoidable biological necessities. Take a break to pet my cat and accidentally fall asleep for the next three hours. Repeat.

  • How do you choose a color palette?

First I find what ‘s there. What’s the environment? What time of day is it? What are the costume colors? Then I look at the script to figure out what the emotional core of a scene is. Is it a fight scene? If it’s a conversation what is at stake?

I don’t know if you’ve seen the Youtube video where they strip the music out of the end scene of ET, but it’s astounding how flat and boring it is without John Williams score. Comic coloring is like adding sound to a movie. We color in the emotion.

 

  • What’s your favorite project you’ve ever worked on?

The first issue of Hell Yeah. It’s a horrible abomination of embarrassing coloring by anyone’s standards, but at the time it was a younger me super stoked to have a gig coloring my first superhero book, just throwing it all out there like a hyperactive toddler who doesn’t know any better. All inspirations and whims where pursued to their upmost extreme, art and logic be damned! As an artist I’m super excited about whatever I’m currently coloring and suicidally embarrassed by stuff i did mere months ago, but Hell Yeah #1 always makes me smile. It’s like discovering a picture of yourself from 9th grade. You’re immortalized as 15 years of baddass attitude wrapped in awful haircuts and awkward clothes and you wouldn’t have it any other way.

 

  • Do you have anything coming out soon that we should keep an eye out for?

Drive. Mars Attacks. Brigands. Drive part 2. Other things I can’t mention yet. Stay tuned!

 

  • Who are some of your favorite colorists in the industry today?

My former mentor Dean White as my all-time favorite. He’s the the Jimi Hendrix of colorists. The shit he did on Uncanny X-Force is so next level that he made the rest of the industry look like they were coloring in black and white.

Outside of Dean my go too’s are Dave McCaig on Nextwave, Daniel Acuna on Uncanny Avengers, Justin Ponsor on the Miles Morales Spiderman, Laura Martin on the Joss Whedon X-Men and Val Staples on Incognito. Lately I’ve really dug Tomer Hanuka’s work on The Divine. Kristian Donaldson’s work on a book called Supermarket is a big influence on how I color Drive.

 

 

  • Is there anyone you draw inspiration from?

Painters mostly. Ron English, Jerome Witkin, JC Leynedecker, Drew Struzen, Malcolm T Liepke, Robert McGinnis and Phil Hale to name a few. Really I’m looking everywhere for inspiration. Mondo prints. Old movies. 80’s Skateboard Graphics, Heavy Metal album Covers, Video games. Advertising from the 60’s. Japanese toys. Fetish photography. Nature. Everywhere. The first season of that terrible show Hemlock Groove on Netflix has amazing color schemes. I’ve watched that season three times on mute. Amazing!

 

 

  • I’ve personally really enjoyed your work on Drive. How did you pick out the palette for that book?

My editor Justin told my when I signed on to approach the book like I was adapting the soundtrack instead of the movie. I’ve tried to go super impressionistic with the book and describe the emotion of the panels rather than how everything would look in nature.

 

Although out there by mainstream standards, Drive’s colors are pretty tame compared to what a lot of under, underground comic artists are doing. I think I assimilated a lot of that by osmosis when I lived in Portland and funneled it into Drive.

 

  • Did the movie heavily influence your choices? Or were you able to branch out a bit?

Enter The Void by Gasper Noe and Vertigo by Hitchcock were bigger influences on coloring Drive than it’s movie. There’s a few things here and there that I took from the movie, but for the most part I tried to go my own way with the book. The comic is based on the novel not the movie so a lot of that wouldn’t fit anyway.

 

  • Where’s your favorite place to pick up a burrito when you’re at cons

I always opt for cheapness and convenience when choosing my burrito, which is difficult because you’re always bleeding money in the ass-end of a strange town at cons. Chipotle and it’s bastard offspring Qdoba and Baja Fresh work the best. My favorite burrito however is the Talapia Supreme from La Bonita in Portland, OR.

 

  • What’s your favorite convention?

When I go to one of the big cons about 70% of the reason I’m there is to network. Emerald City and Heroes Con are the best for meeting other industry folks that I’ve found. Hanging out in the right hotel bar almost becomes as important as the con floor when you’re trying to meet the right people.

As far as enjoying a con recreationally I like the small, one day cons that have been popping up in tiny towns all over the place. There’s no celebrities, or creators you’ve heard of, just people in homemade costumes buying old toys and musty comics from mom and pop vendors that look to be one bad life decision removed from carnie folk. They remind me of the kind of ragtag cons I went to growing up in West Virginia. Just nerds hanging out with other nerds rejoicing in their nerditude , except now there are entire families of nerds in attendance.

  • What would be your dream collaboration?

Redoing the entire first Secret Wars from the 80’s with Frank Quitely on pencils. Realistically, Joe Eisma and I on a Spider-book or Marcio Takara on an X-book. Doing a Bat-book or revamping Strikeforce: Moritori with Brian Level would be fun. Reviving Nextwave: Agents of HATE with Juan Gedeon would be heavenly. I could keep going on like this forever…

  • If you weren’t a comic book artist what would be your career?

Punk musician or homeless man.

 

  • What’s the biggest difference between working for the big two and on your indie titles?

Things run smoother at the bigger companies. They give me the pages, tell me when they want them back and for the most part leave me alone to do what I do. After I hand the pages in I can expect my money within about 30 days. My editors are usually super busy so as long as everything looks good and is on time everyone is happy.

90% of self-publishing guys are nothing but headaches. They mean well, but spending money they don’t have for me to color their life long passion project which they unrealistically believe will launch them into comic stardom turns them into annoying stress monsters.

They’ll have arbitrary, unrealistic deadlines and demand a bunch of nitpicky corrections and send constant, nagging requests for updates, only  to realize they don’t have the money to pay me when I’m halfway through coloring their book.

Some times they’ll push for me to ape Dave Stewart (I love you, Dave!) rather than use my own coloring style. Often times they’ll add me on Facebook and send me 50 urgent update requests when I happen to post that I went outside that day, like some kind of unholy hybrid of needy, jealous girlfriend and overbearing truant officer.

The problem is that the little guys think that because they’re paying me what for them is a lot of money that, that makes them my boss. In reality I have many bosses. When deadlines loom and I have to prioritize I’m going to choose the entity which can provide me with more income in the future, which is always the bigger companies. No one likes to hear they’re number two. Even when things do go well with the self-publishing guys its rare that they ever get to a second issue, even if they had originally pitched me a 50 part mega-epic. It’s like they evaporate after that first issue.

  • What unique challenges does remastering have compared to coloring new titles?

None. That was what was great about them. I’d wake up at noon, pour a glass of Vanilla Coke, turn on some Slayer and color comics  I had as a child until the wee hours of the morning. If I could somehow incorporate playing Sega with Tony Hawk while getting a back rub from Debbie Gibson I would have been living out my ultimate 14-year-old fantasy life.

There were only 64 colors I could choose from, and out of those about a third were never used. My whole job was matching the colors to the scanned comic pages they sent me. It was sublime. If only it payed a little better and there was an inexhaustible supply of old comics to re-color I would have done that forever.

  • Who are some of your favorite artists to work with?

I prefer artists with more of an open style and minimal use of blacks. Too many heavy shadows, or hatching, or use of greyscale just gets in my way and often hampers my ability to color a page. It’s hard to find an artist with an unclutterd, clean style who also has a strong sense of structure without becoming cartoony. Mike Allred, Chris Samnee and my collaborator on Brigands, Nick Barber, are pretty close to ideal.

 

  • Who’s your favorite character to color?

Again, whoever I’m currently paid to color is my favorite. While doing warm ups I prefer to color female superheroes.

 

  • Thank you for your time Jason, I’ve enjoyed talking to you. Looking forward to your great work in the future.

No problem. Check out my Twitter: @lewisjasonr and my Tumblr lewisjasonr.tumblr.com. Now I’ve got to get back to work.

 

If you’d like to purchase some of Jason’s work you can check out his page on Comixology: https://www.comixology.com/Jason-Lewis/comics-creator/5533?ref=c2VhcmNoL2luZGV4L2Rlc2t0b3Avc2xpZGVyTGlzdC9jcmVhdG9yU2xpZGVy

Don’t forget to ask your local retailer about Drive.