Friday, August 13, 2010

The Amazing Loston Wallace!!

I discovered Loston Wallace when I found the most excellent site for aspiring sequential artists that is PencilJack!

Loston is the kinda guy that is always there to give great constructive tips! He has the chops to back it up too. Without further ado here is the Loston Wallace interview!

1.) You draw in the classic style. What keeps you from doing the more modern thing?

I actually look at drawing as being something that's not bound by styles. I do commercial artwork, so I tailor the style to fit the project. However it is very true that I do like classic styles. It's what I know best, and what I like the most, and I'll make no bones about that. I grew up on classic comics--the kind printed on newsprint that you could get for under half a dollar. My art heroes were comic book veterans like John Buscema, Don Newton, Wally Wood, Neal Adams, Berni Wrightson and Jack Kirby. The sort of artwork they produced inspired me then, and still inspires me to this day. I'm often consider to be an "old school" artist by fans and other artists in the comic industry. I've never liked that term, but I do appreciate comic book artists of yesterday, and my artwork reflects that. I'm an artist who believes and who gets excited by artwork that reflects comic book tradition. Alex Raymond, Hal Foster, Frank Frazetta, Wallace Wood, Al Williamson--these are the artists whose artworks excite me. My artwork is in part a tribute to the great comic book legacy of the comics of yesterday. These comic traditions still live and dance freely inside my head. The artwork I try to produce is the sort of artwork that I personally love to see--what makes me happy. I think every artist producing work must first please themselves with their work before they can please others.

As far as "modern" comics go though, I think it's important to realize that there's always something good in every generation of art. Many of today's artists draw upon Japanese influenced manga and anime art, as well as other outside influences. It's a real mash-up these days, but there are some extremely talented artists working today. Pick up a copy of DC'S WEDNESDAY'S COMICS and you'll quickly realize that guys like Ryan Sooke and Karl Kerschl are no slouches!

There are many modern artists working today that are steeped in great comic book traditions of the past. Bruce Timm and Darwyn Cooke both owe a great deal to classic artists like Dan DeCarlo, who worked for ARCHIE COMICS for decades drawing BETTY & VERONICA, JOSIE & THE PUSSYCATS, and even MILLIE THE MODEL for Marvel Comics back in the day. You can't help seeing the work of artists like Wally Wood and Jack Kirby in their work either. You can tell that these guys grew up reading mags like Warren's CREEPY, EERIE & VAMPIRELLA or books like THE SAVAGE SWORD OF CONAN. It doesn't take an art genius to see some of those same influences in the artwork of Eric Powell either. Who hasn't looked at Mike Mignola's artwork and seen the Jack Kirby influence to the figures, etc? Comic traditions of the past are still very much alive today. You just have to know where to look for them. Modern superhero comic artists across the board owe debts of gratitude to greats like Jack Kirby, Steve Ditko, John Buscema, Gene Colan, Gil Kane, etc. These artists defined superhero comics as we know them today, and the new generations can't helped but be influenced by the works of the past.

I loved classic cartoons growing up--Bugs Bunny, Tom & Jerry, the Jetsons, the Flinstones, Pink Panther--I liked 'em all! I get excited when an old Hanna Barbera cartoon shows up on Boomerang, or even cartoons like THUNDARR, THE BARBARIAN! Man, that's the stuff for me!

2.) Can you tell us a bit about your influences and how they shaped your art?

I'm a child of the '70s and '80s, so I naturally loved and read the comics of these eras growing up. In addition, I inherited a lot of '60s comics, so I also got to experience that classic era. I can't possibly list all of my artistic influences. There are far too many to name. Here's a short list: Wally Wood, Jack Kirby, Steve Ditko, John Buscema, John Romita Sr, Don Newton, Frank Frazetta, Doug Wildey, Steve Rude, Mark Schultz, Dave Stevens, Berni Wrightson, Nestor Redondo, Alex Toth, Gil Kane, Brian Bolland, Bruce Timm, Dan DeCarlo, Darwyn Cooke, Al Williamson, Gene Colan, Joe Kubert, Will Eisner...this list could go on and on.

I will say that my favorite comics growing up were books like BATMAN, THE INCREDIBLE HULK, CONAN THE BARBARIAN, SAVAGE SWORD OF CONAN, and Warren Comics. In my teens I discovered EC COMICS via reprints and was blown away by WEIRD SCIENCE and the science fiction comics of the '50s. I loved the horror mags too! I remember buying Charlton Comics off the spin racks. When I was five I got my hands on a copy of DOOMSDAY +1 #1. On the cover there was a splash down landing capsule floating in the ocean next to the Statue of Liberty, which was mostly submerged under the waves with a burned out NYC in the background. That comic had a major impact on me. It was some of John Byrne's earliest comic art with Joe Gil providing the story. It was about astronauts returning to Earth after a nuclear holocaust had occurred. The nuclear fall out had thawed out a prehistoric Mammoth and a Bronze Age man, and they meet them both in the first issue! Astronauts, nuclear armageddon, a Mammoth attack and prehistoric man in one comic--Wow! What's not to like??!

3.) Do you prefer hand drawing/inking or digital or a combination of both? Tell us about your process.

I prefer to draw and ink by hand. I find digital inking to be a little cold and the line work often doesn't seems to have the same sort of energy that my hand inking has. I prefer to ink with a brush. I use Raphael Kolinsky Red Sable 8404 an 8408 series brushes--usualy the #3 and #2 brushes, which give me the best results. My ink of choice is Speedball Super Black India Ink. Properly maintained, this is one of the best inks available today.

I do like digital coloring though. I think Photoshop has been a great boon for the comic industry. Done with the right amount of restraint, PS coloring can be very effective. Dave Stewart is a colorist that really impresses me. He is an artist, and not just a coloring technician. He shows restraint where it's needed, and his coloring always compliments the storytelling. I love his approach!

I also enjoy having saved scans of my artworks. Often I sale the originals so it's good to have hi-rez scans of the pieces that could be used to make prints, etc.

4.) What tools are your favorite for Penciling/inking etc?

I use wooden pencils--the kind that you need a pencil sharpener or knife to sharpen. I've tried lead holders, but I don't care for them much, and I break mechanical pencils. Mechanical pencils aren't great for drawing spontaneous and energetic lines, IMO. They're for doing fine detail. I need a solid pencil for doing figure work, so I like the wooden pencils best. I often use those green Design pencils. I use H, HB, B, & 2Bs, depending on what sort of line I'm looking for.

As I mentioned above, I ink with brushes primarily. It's the old fashion way, and not at all modern, but it gives me the best results. I think a lot of modern inkers ink digitally because they find the brush to be a little intimidating to use. It takes time to develop brush inking skills. You have to put in a lot of work with the brush before you learn proper control, etc. It can be a scary thing I guess, and I think that's one of the reasons that a lot of modern inkers have turned to technology. I think that's too bad really, because most of the digital inking I've seen is fairly lifeless and mechanical. Some energy seems to get lost in the process. Also there is the issue of original art. There is a market for selling original artwork, and selling the original art is a great way for an artist to get additional income. Digital artwork produces no originals so you can only sell print outs.

Recently the ROCKETEER: ARTISTS EDITION was released containing scans of Dave Steven's inked pages from both of his ROCKETEER series. Dave was an amazing artist, and one of the greatest inkers in comic book history. I love that that book has been made available to modern artists. I hope it will influence a few of the digital guys to look into trying their hands at doing some traditional inking.

5.) Any future projects you are working on we should look forward to?

LORNA RELIC WRANGLER is a comic book that's coming out next March through IMAGE COMICS. Micah Harris, writer of the HEAVEN'S WAR graphic novel, created LORNA, and is the writer. I provide pencils and inks on the main story in the first issue. The art style I'm providing for LORNA is more animated in nature, along the lines of artworks by artists like Dan DeCarlo, Bruce Timm and Darwyn Cooke. LORNA has two industry mega-stars providing some incredible covers for us for the first issue debut!

Beyond LORNA, there is another green lighted IMAGE project down the road with Micah Harris. This one will be a horror anthology which will task me with providing some traditional comic stylings that are more akin to the sort of artwork you might find in the old Warren Magazines. I'm really looking forward to drawing that book!

6.) Where can we find you on the web and buy your stuff?

I have a website:
And I have a DeviantArt gallery:

Many of my books are available on and other places. There are links to some of them on my website front page. These include movie tie-in books for kids, as well as DC Comics licensing books for kids. Here is a list of a few of these:








I want to thank Loston for taking time to answer these questions!

Come check out PencilJack! You won't regret it!

Tuesday, July 27, 2010



Sorry it has been a bit since I have updated.

Got a new Macbook Pro and Manga Studio 4 and Adobe CS4.

Work has begun on "Tales of High Adventure" anthology.

It is the premiere of my creator owned universe.

"Midnight Eagle"

Pics coming soon!

Monday, June 14, 2010

R.I.P. Al Williamson

We lost another great legend in illustrators of amazing art.


If you have not seen his work I suggest you check it out!

He was an amazing artist in his own right and a legendary inker.

Wednesday, June 9, 2010


I have been given a "Kreativ Blogger Award"!

Good old Benito Gallego, from blog Callaghan's Inn has sent to me the nice award that you can see at the top. Thanks man, I really appreciate it! It must be because of that nice interview I did with him last year. ;-)

Now it's my turn because this award has its own rules.

Let's see:

(1) Thank the person that nominated me. (It's already done.)

(2) Copy the award and put it on my blog. (Done.)

(3) Link back to the blog that nominated me (Done.)

(4) Name seven things about myself other people might find interesting. (See below.)

(5) Nominate seven other Kreativ Bloggers. (Also below.)

(6) Leave them a comment so they know they have been nominated. (will do)

Seven things about me..

1.)Been married for over 10 years

2.)Train in Full Contact Bare Knuckle Karate(

3.)Never Broke a bone(at least not yet.)

4.)After not playing RPG's for many years I have recently gotten back in with some retro action(

5.)I love Subaru's

6.)I have a large collection of Transformers from G1 to Movies

7.)I do not draw as much as I should!


Thursday, April 8, 2010

Pulp Anthology coming soon....

I am good friends with the gentleman behind

We have been talking about my pulp story lately and how he might ink it for me.

Turns out he has a story he would love to do as well!

Bang! Anthology to be made.

Hopefully in time for the 3rd Annual Tucson Comic Con 2010.

Look here for some more info soon!

Saturday, March 27, 2010

RIP Dick Giordano


A legendary artist,a pioneer.

A friend to many other artists and an insanely good inker.

You will live on for fellow illustrators and comic fans for eternity.

Monday, March 22, 2010

The Art of Mike Powell

So after some delay I finally got this one ready.

1.) Who has influenced you over the years and are there any that hold your interest over time more than others?

In the beginning, Todd McFarlane and Jim Lee. But over the years I've broadened my horizons to include many others. Jack Kirby, John Byrne, Frank Frazetta, Gene Colan, Sal Buscema, John Buscema, John Romita,John Romita Jr, Frank Miller, Erik Larsen, Norm Breyfogle, Mark Bagley, Ryan Ottley, Mahmud A. Asrar, Tony Moore, Charlie Adlard, Chris Samnee, Ivan Reis and Mike Norton. I know I'm forgetting someone. That's not to exclude the writers who have inspired me. I'm a huge fan of Robert Kirkman, Jay Faerber, and Geoff Johns.

2.) I notice you like to do a lot of Golden Age characters? Is it that they are out of copyright or just to do something different?

In the last few years I've been fascinated with the concept of the public domain, properties and works that have lapsed in copyright over the years and are availabe for anyone to re-imagine in their own style. In the near future some characters with heavy basis in the public domain will make appearances in my stories. I have plans for several figures from world mythology to appear as well.

Lately I've been sketching a public domain Golden Age character every night for my sketchblog ( I always post a panel or cover from the old days for comparison. Most of the time I don't make any changes to the design, but there have been times when I have.

3.) What tools do you use to work on your art? Paper stock ? Pencil's , Pen's , Brushes?

I'm pretty low tech, actually. For sketching I use regular white copy paper. For commissions and sequentials I use card stock. My inking tools are a regular pencil and kneaded eraser, PITT artist's pens, a bottle of black ink, and a brush.

5.) You have created some original characters,any plans for some stories about them?

My principal characters are Sovereign (the "Superman" analogue in my universe) and Ominus (my "dark knight" analogue). Sovereign is featured bi-monthly in the Arcadia Comics Anthology, now available from Indyplanet . The second issue is wrapping up in the next two weeks, and it should be available in March.

Ominus won't make his official first appearance until that issue, but earlier in his career he was known as Revenger. I've started a weekly webstrip featuring those adventures. You can read it from page one at .

6.) Can you tell us about any of these ideas?

Sure. Let's talk about Sovereign, since he's the heaviest hitter.

A while back I wrote a summary of exactly who he is and what he's about.

It goes...

"Imagine the archetype of the mighty superhero, the other worldly savior of humankind, faster than a speeding bullet and able to soar higher than any plane."

Now imagine his female counterpart, the immortal warrior princess from a far away land of myth.

In a bygone era they represent justice, and on many occasions they join together to protect the planet against unimaginable threats.

Now imagine what goes on behind the scenes.

A passionate love affair ensues, and unbeknown to the the mighty superhero, a child is conceived.

The princess disappears, determined to raise her child in secret, away from the violence and injustice of mortal man's world.

The child is named Aleksandr. He is raised by his mother in an island paradise, ignorant of his lineage, or the real reason he is so powerful.

In a moment of tragedy he learns the truth.

And so Aleksandr, now a man, ventures to the outside world in search of the father he never knew existed.

But he soon discovers another disturbing truth...
His father, the savior of humankind, once known the world over as dead.
Lost forever to his mother's land and people, how does he find his place in a strange new world?

What does he do with himself? How does he honor his father's memory?

The answer...He continues the fight where his father left off."

So in a nutshell, "what would happen if Superman and Wonder Woman had a love child?" I wanted to tell a story like that to play with those archetypes. And I'm really looking forward to getting it off the ground.

Mike Powell

Thanks to Mike for giving his time! Check out his links below!

Tuesday, March 2, 2010


I have hit a wall with my drawing lately and it is effecting the blog.

I have another interview to post up soon.

Wednesday, January 27, 2010

Benito Gallego

Interview with Benito Gallego []

I found him on Deviant Art and he just screamed to me a student of John Buscema. That can’t be a bad thing!

1.) You have a style very reminiscent of John Buscema? Can you tell us more about that.

Since I was a little boy I loved the Buscema Conan books and when I read other heroes like Ka-Zar, Thor or The Avengers it was always John Buscema's version the one I felt the best compared with the other artists. So when I started to try to draw I would imitate Big John's style. I just wanted to draw as good as the best.

Now I'm older and many of the ideas and concepts that I used to rely on when I was a child have proven wrong but others I'm still certain. Among the few that I still manage today as an adult is the strong believe that John Buscema is simply the best you can get in comic-book art.

2.) Besides Buscema, what other artists have influenced you? Also why do you stick to a more "traditional" style compared to alot of "modern comics"?

I could name a lot of artists that I admire like Joe Kubert, Wally Wood, Neal Adams, Jordi Bernet, Frank Frazetta, Will Esiner, Carlos Giménez, Víctor de la Fuente, Mike Mignola, Adam Hughes, Lee Weeks... and many others. At some point they all have had some influence in my work and I'm continually finding guys whose art I enjoy.
And yes, it is true that my style is quite "traditional". Maybe because when I move away from it to try to develop a "modern" approach I feel like I'm losing something. So why do I have to eat a hot-dog when I can have a "paella"?

3.) Do you prefer hand drawing/inking or digital or a combination of both?.

I used to hand draw-ink and color but since the new technologies have developed and we can have software and computers that can help an artist's task it would be foolish not to take advantage of it. Today I use digital tools mostly for coloring but also sometimes for making sketches and even inking depending on the subject and style that I'm working on at that moment.

For me the most important advantage is that even when you use a traditional method for drawing or inking you know it is always so much easier now to make corrections digitally using a computers program than it was before.

4.) What particular Tools do you like to use for penciling,inking and programs?

If we are talking digitally, first I have an A3 size scanner that allows me to scan my drawings on the first try. You safe a lot of time when you don't have to join two or more parts when using a small scanner. Then I use a wacom tablet which is way faster and versatile than the traditional mouse. The programs I use are Photoshop for coloring and making sketches. And for inking I use Illustrator.

When using traditional methods I prefer an ordinary pencil to a propelling pencil. And for inking I use a quill to make the main lines and a brush to fill the blacks. I don't usually use markers or felt-tip pens which I find too hard and inexpressive except for making straight lines. And for coloring an illustration I use watercolors combined with crayons, markers and gouache.

5.) What inspired your Zuda story? How do you think it went?

The idea of a race of people dwelling in the underground "like beasts, in caves where no sunlight ever entered" is a recurrent theme that appears in "The Lost Race", "Worms of the Earth", "People of the Dark" and other tales by Conan's creator Robert E. Howard. I took that idea and thought what if there were such a race in our modern-day cities? I thought that they probably would live in the sewers and could be called something like "The Children of the Sewer". If you put a hero (or anti-hero in this case) in this context you have a lot of posibilities of building an epic tale of adventure, fight, fantasy and horror.

At first I didn't have much expectations to win the contest. I just wanted to participate and expose my work to see the public's reaction. But when you see that people seem to like your work and you are getting near the top you cherish the idea that "Yeah, I can make it, I'm really close to win". So t was a bit dissapointing when finally I didn't win although a second place is not bad at all.

6.) Any other current projects in the works?

I hope to retake Roy Thomas' ANTHEM and CAPTAIN THUNDER & BLUE BOLT series soon. Meanwhile I have been contacted by Gerald Cooper from InVision Comics ([link]) and hopefully I'll be doing some work for them in a near future. I have also a story about gypsies, tartars, kosacks and zombies! that I wrote some time ago and that I would really love to draw.

7.)Any other websites that feature your work other than here at DA?

You can take a look at my gallery at comicartfans ([link]) although most of the pieces are also on DA.
I'm also developing my own website ([link]) that I hope to have finished in a couple of months. I think I said something like that a year ago!!

That’s it for the first one. I would like to thank Benito Gallego for taking his time to answer my questions. Stop by his Deviant Art page.

Tuesday, January 26, 2010


Getting ready to do a series of interviews of other artists who are inspired or taken by similar artists.

If you drool over Kirby,Sinnott,Timm,Rude,Toth,Wood,Sickles,Caniff,Raymond,Romita,Wildey,etc.

Drop me a line!

First one should be up soon!

Friday, January 22, 2010

Storytelling now and then...

Every Wednesday I meet up with fellow artists and friends at a local coffee shop.

There tends to be some great discussion of art of comics and other mediums.

This past week it was a much smaller group of us and it was the few that are really into cinema as well.

What we have all noticed is that storytelling is not just falling apart in comics but movies as well. I made a comment on how the 60-80's comics all had really good storytelling and that a few artists seem to really catch onto cinematic techniques.

I have been on a Hitchcock kick lately and started to notice that alot of my favorite artists seem to have sequences or shots right out of these classic films. I know Jack Kirby use to have his TV on almost at all time while he was working as company but I bet it influenced some of his visuals for sure.

Another one of the group noted how comics tried to be too much like movies now and the movies now are trying to be too much like video games. I hope they do find a balance in this. The story is what is the most important if you want to have something that is great. A weak story with great visuals is just a picture book. A great story with weak art is still a great story and can always be improved on later.

One of my own personal goals is to make sure I am telling the story first and using the art to guide you.

Friday, January 15, 2010

Brush Inking Tips...

So in my own personal quest to become better at brush inking I have turned a great source.


So far this video explains so much and is very informative.

Another good one I found is here.

There are many more but I found these 2 particular ones to be the most helpful.

Good luck!

Monday, January 11, 2010

Traditional Inks or what I like to call sexy…

Now it should be no clue that I prefer traditional inking on comics/pop art.

I can not tell you exactly why. I just think it looks really smooth and its easy to read.

Part of that is how the ‘weights’ of the lines draw your eye to parts of the illustration.

A master knows exactly how much of this to add or subtract from the pencil art.

In the hands of a master craftsman like Joe Sinnott it is amazing. He knows exactly how to make each image in a panel come to life. Pushing what needs to be in the foreground there and letting the rest seep into the background.

Even a complex image like this cover to FF #100 you can read each character easily even in Black and White.

I feel that the image should be readable in Black and White and maybe enhanced by color. I feel that modern comics almost depend on the color too much.

The Shadows of the soldiers on the wall here are a great example of making the image read. He could have just made them all black but it would have overpowered the rest of the image. Letting us see the bricks in the shadow let us see the characters easier.

Ask anyone in the biz who has been there since Joe Sinnott and they will tell you they learned from him or wanted him to ink their stuff. Stan Lee said that artists would fight over Joe’s schedule. He made it that good.

Here are some other artists who were also renown for their inking.

Wally Wood.

What is there to say that the picture can not? Not much. He was a master of using light and shadow. Even over Kirby (some say he overpowers Kirby’s style but I say it looks amazing…you get Kirby dynamic and Wood’s sexy shadows!)

He was also just an amazing artist in his own right.

Alex Toth

Someday soon I will get to a whole topic on one of my all time favorites Toth. (after IDW releases their new book about him late this year…)

Anyway. Toth has a simplicity that can be deceiving. It looks simple but its not. He just leaves out the unnecessary and highlights the best part of an illustration.

He was a huge fan of Noel Sickles(another blog topic to come soon!) and it shows!

Check out Ralph's posts on Noel Sickles here (

Mike Royer

(more info here courtesy of 20th Century Danny Boy )

Another of the legendary Jack Kirby Inkers. He is known for being true to Kirby but still enhancing the little things.

An amazing artist in his own right he now freelances and does some work for Disney on Winnie the Poo!

Doug Wildey.

While he was known for being meticulous he has an amazing line.

Creator of the TV Show Jonny Quest.

He studied the classic Newspaper strip artists like Milt Caniff, Noel Sickles and Alex Raymond.