rough stuff #2
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DESCRIPTIONIn ROUGH STUFF #2, editor (and top pro inker) BOB McLEOD spotlights more NEVER-BEFORE PUBLISHED penciled pages, preliminary sketches, detailed layouts, and unused inked versions of art from throughout comics history! There's an interview with PAUL GULACY, andt lengthy galleries of work by fan-favorite artists FRANK BRUNNER, JERRY ORDWAY, and MATT WAGNER, who contribute commentaries on pencils, sketches, and more from some of their most beloved comics series—discussing what went right and wrong with it, and giving background information to put it all into historical perspective. Also: A pencil art spotlight on BRIAN APTHORP! A retrospective art gallery on the late comics legend ALEX TOTH! Plus: Before-and-after comparisons revealing how images changed from initial concept to published version, a look at oddball penciler/inker combinations, and more, all behind a new GULACY “Hex” cover!
P R E S E N T S
N o . 2F a l l 2 0 0 6
$ 6 . 9 5
C e l e b r a t i n gt h e A R T
o f C r e a t i n gC om i c s !
Jonah Hex, Sandman, Superman, Atom, Superman, Supergirl, Batman TM & 2006 DC Comics.
PAUL GULACY!PAUL GULACY!Interview &Art Gallery
1 82658 27766 6
OCTOBER 2006 ROUGH STUFF 1
Volume 1, Number 2October 2006
Celebrating the ART of Creating Comics!
PROOFREADERSJohn Morrow and Christopher Irving
COVER ARTISTPaul Gulacy
COVER COLORISTLaurie Kronenberg
CIRCULATION DIRECTORBob Brodsky, Seastone Marketing Group
SPECIAL THANKSBrian ApthorpFrank BrunnerPaul GulacyJerry OrdwayAlex TothMatt WagnerRay WongEric Nolen-WeathingtonRoger ClarkDavid HamiltonKen SteacyMichael Eury
ROUGH STUFF is published quarterly byTwoMorrows Publishing, 10407 Bedfordtown Drive,Raleigh, NC 27614. Bob McLeod, Editor. JohnMorrow, Publisher. Editorial Office: ROUGH STUFF,c/o Bob McLeod, Editor, P.O. Box 63, Emmaus, PA10849-2203. E-mail: email@example.com. Four-issue subscriptions: $24 Standard US, $36 FirstClass US, $44 Canada, $48 Surface International,$64 Airmail International. Please send subscriptionorders and funds to TwoMorrows, NOT to the edi-torial office. Central cover art by Paul Gulacy.Jonah Hex TM & 2006 DC Comics. All charactersare their respective companies. All material their creators unless otherwise noted. All editorialmatter 2006 Bob McLeod and TwoMorrowsPublishing. ROUGH STUFF is a TM of TwoMorrowsPublishing. Printed in Canada. FIRST PRINTING.
FEATURED ARTISTS3 Brian Apthorp
14 Frank Brunner
50 Jerry Ordway
61 Alex Toth
73 Matt Wagner
ROUGH STUFF INTERVIEW30 Paul Gulacy
ROUGH STUFF FEATURE46 A Special Memento
ROUGH STUFF DEPARTMENTS2 Scribblings From The Editor
26 Cover StoriesPaul Gulacy and Frank Brunner reveal the process they go throughwhen creating a cover.
48 PreProA look at the art of the pros, before they were pros.
84 Rough CritiqueEditor Bob McLeod critiques an artists sample page.
86 Rough TalkComments and opinions from our readers.
For more art by our featured artists, visit www.bobmcleod.com/roughstuff.htm
OCTOBER 2006 ROUGH STUFF 3
BRIAN APTHORPBrian Apthorp is
part of the new van-
guard working incomic books toda
hes very well rooted in the fundam
of good comic art. His composition
dynamic, his figures are graceful
and powerful andsexy,
and his dramaticlighting is first-r
ate, delighting the inker
in me. His pencils would be a ball
F E A TU R E D
A R T IS T
Ghost #11, cover
The pencils for the cover of Ghost #11. I did
four covers, for numbers 9, 11, 13 and 17, and
this is one of the better ones, I think, though
shes considerably sexier in the other three.
But it was really cool, working on each,
because I didnt have to adhere to any story
situation; they were simply compositions of
my own devising, portraits of her and her
peculiar situation, trying to be evocative.
ABOVE: The cover for Ghost #11, inked by
GHOST TM & 2006 Dark Horse Comics.
4 ROUGH STUFF OCTOBER 2006
Trial and Error, pg. 28
This is from The
Trial and Error, writ-
ten by LenWein, for
Vertigo from some-
time in the late 90s.
It was inked by Scott
Hampton, one of my
favorite artists and
persons, and I am
proud of it, basically.
Another of those
pages, looking like
I supposebut it
was depicting the
magic world of the
again, the ol
reliance on the
colorist to separate
a bit, down the line.
DREAMING TM &
2006 DC Comics/
OCTOBER 2006 ROUGH STUFF 5
Trial and Error, pg. 18
The background was
filled in on computer
just to give a sense
of how the thing was
light amount of
blacks on the figures,
relatively, deemed it
necessary to pull
them out of the black
emptiness of the
ground. But I sent
Scott Hampton some
saying how it was
difficult for me to
push the blacks as
far as I wished, to
encourage him to
help get me there
in his masterful inks.
And what a drafts-
man! Nobody ever
inked my stuff with
drawing fidelity, and
of course, he
improved a lot of
things in the bargain.
I loved working in
this dark environ-
ment, of my own
It was just hard to let
go of reflected light
and all that. Its a
struggle for me.
DREAMING TM &
2006 DC Comics/
FRANK BRUNNERFrank Brunner h
as always been one of
my favorite artists. His work is ve
sensual, and hisimagination know
bounds. Hes probably best known
his definitive efforts on DR. STRAN
GE and HOWARDTHE
DUCK. In recentyears, hes been
doing a lot of amazing
F E A TU R E D
A R T IS T
14 ROUGH STUFF OCTOBER 2006
Just a bit naughty,
but still mostly
SUPERGIRL TM &
2006 DC Comics
DR. STRANGE TM & 2006 MarvelCharacters, Inc.
OCTOBER 2006 ROUGH STUFF 15
Howard the Duck
Like Hope and
and Beverly do a
road trip movie
in Ole Baghdad.
DUCK TM &
16 ROUGH STUFF OCTOBER 2006
Howard The Duck #1,
Howard executes a
very difficult rescue.
HOWARD THE DUCK
TM & 2006 Marvel
26 ROUGH STUFF OCTOBER 2006
W hat happens between the initial layout of a cover, and the finished, printed piece? Usually a lot ofchangessome brought about by the pencil artist, some by the inker (assuming theyre not thesame person as the penciler), and some at the request of an editor or publisher. We asked acouple of this issues pros to give us a little insight into these classic covers.PAUL GULACY:
Catwoman #25 cover
rough: When Dan
Didio asked me on
board as the new
Catwoman, I decided
to pick an important
scene from Ed
which had her
crashing through the
of a crack house in
that first issue that I
drew. It just
entrance. I decided
on an upshot of her,
but I needed a photo
reference in this
which meant I
needed a model.
CATWOMAN TM &
2006 DC Comics
OCTOBER 2006 ROUGH STUFF 27
I nixed the opaque projector and
rendered the scene freehand in
pencil while holding a photo still.
Jimmy Palmiotti then did his usual
inking magic (below). In a situation
of a monthly book with tight dead-
lines, I felt he and I as a team
worked great together. The only
thing I didnt like about this was the
goggles. I was adhering to the
design the former team used which,
according to Ed, was based largely
on the same worn by Joe Kuberts
Enemy Ace character. If it were up
to me, Id nix them altogether. If she
can run, jump, leap and do every-
thing as a cat, why cant she see at
night like one? Im for seeing Selina
Kyles gorgeous eyes.
CATWOMAN TM & 2006 DC
30 ROUGH STUFF OCTOBER 2006
PAUL GULACYBy Michael Kronenberg
F or over thirty years Paul Gulacy has continued to be a creative force in the comic book industry. Hehas worked for every major publisher and has been associated with some of comics most memo-rable characters and titles. To thrive as long as he has in an industry as grueling and sometimescruel as comics has been not only his ability as an artist and storyteller, but tantamount to his skills as a survivor.
Numerous times over the years a Gulacy art job would hang on the balance of which inker was selected for his
pencils. There have been some outstanding embellishers he has been partnered withDan Adkins, Terry Austin, and
Jimmy Palmiotti to name a fewbut too many times he has been mismatched and his idiosyncratic style has been lost.
With the release this month of Jonah Hex #12, Gulacy embarks on a new venture with his art: inking his pencils.
you never saw me doing my owncovers when I was on Master of Kung Fu,because I just got under the wire on thedeadline and there was no time to let medo the cover. Knowing that, I decided tomake the slash page the cover.
I never get tired of it. Its what I do. Itsmy outlet for self-expression. Mar