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Post by Beth on Mar 3, 2013 8:20:51 GMT -5
Starting at 10pm GMT/5pm EST your chance to ask Suze about her creative processes, what it’s like working on MSCSI and how best to get into a career with comics.
Post your questions here.
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Post by Will on Mar 3, 2013 10:18:22 GMT -5
OK I will post here the question that I had on the other thread  Your first drawings of Cat do not look 100% like your most recent drawings of Cat -- she was originally more doe-eyed and a bit Disney, but in the comic art and the bonus sketch, she has a consistent (different) look -- kind of oval-faced, open-faced, well-scrubbed, not exactly glam but more 'nice', pleasant in her appearance. Have you evolved the distinctive look of Cat since you first drew a character sketch of her? |
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Post by Will on Mar 3, 2013 12:28:07 GMT -5
I have another question for Suze. In the picture of your workspace, you have yellow-highlighted specific lines from my script. How does this fit into your process?
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clay
Cat People
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Post by clay on Mar 3, 2013 12:47:53 GMT -5
Suze, can you give a bit of insight on how you collect and employ reference for your work? And not just for characters, but I mean also for architecture, vehicles, etc? I ask because one of the things I was so taken by in Issue 1 is the level of consideration you have for detailing an environment...not exactly just intricate details, but how you've given a level amount of thoughtfulness to everything.
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Post by lucy on Mar 3, 2013 13:05:27 GMT -5
My question for Suze is: how did you start your career? Did you always want to become an illustrator?
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Post by thewordiebirdie on Mar 3, 2013 13:57:19 GMT -5
who are your favourite artists, and who has inspired you the most over the years?
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Post by Beth on Mar 3, 2013 14:03:42 GMT -5
I've got a couple of questions that have kind of come from listening to a Women in Comics panel at the Cardiff Comic Expo this weekend.
One of the questions the panel asked was 'why do we need a women in comics panel in this day anf age?' What would your answer be?
One of the panellists said that she Louise want to be involved in a comic that's deliberately made up of all women she sees that as being more sexist. MSCSI has a predominantly female creative team and we know that was deliberate. How have you found working in a mostly female environment and what do you think about comics being deliberately made up of mostly women?
What have you found most difficult about working on MSCSI?
And what do you enjoy the most?
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Post by Will on Mar 3, 2013 14:28:27 GMT -5
Another question for Suze.
I was lazy at one point in the script for Issue 1 and just said something like 'we will need alternate-universe brand names here'.
You went the extra mile and drew things like 'Lash Blast' mascara, "Libelor" (looks like a brand of blusher), and I think you also invented the Fantastic Flyers on page 2, so you've basically created a new superhero team.
How did you come up with these little details of Cat's world -- spontaneously as you drew them, or did you plan any of it out?
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Post by Suze on Mar 3, 2013 17:01:59 GMT -5
Eek, questions! I mean, Hi guys Thank you very much for your interest in my process! I'll start going through these, starting top down. I figure quoting will be the easiest way to keep track of the question vs answer. |
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Post by Suze on Mar 3, 2013 17:07:06 GMT -5
OK I will post here the question that I had on the other thread Your first drawings of Cat do not look 100% like your most recent drawings of Cat -- she was originally more doe-eyed and a bit Disney, but in the comic art and the bonus sketch, she has a consistent (different) look -- kind of oval-faced, open-faced, well-scrubbed, not exactly glam but more 'nice', pleasant in her appearance. Have you evolved the distinctive look of Cat since you first drew a character sketch of her? When I first drew Cat, I don't think I knew much about her and in my opinion that's pretty apparent in that firs picture. From looking at it you wouldn't be able to tell anything about Cat's character. The way I draw her evolved with my understanding of her to the point it's at now, where she (I hope) comes across as being a kind, honest person who is no-nonsense about the things she finds important. She's well put together but not to the point of glamour, since looks isn't always the first thing on her mind. |
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Post by Will on Mar 3, 2013 17:07:42 GMT -5
I am enjoying this Q&A so far!
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Post by Suze on Mar 3, 2013 17:14:44 GMT -5
I have another question for Suze. In the picture of your workspace, you have yellow-highlighted specific lines from my script. How does this fit into your process? The highlighting was to make sure I didn't lose any of your lovely details!  I have a bad habit of skimming text sometimes, and wanted to ensure that nothing got left behind. It's generally things like action or scenery notes, though in a couple spots I can't figure out what I was highlighting exactly. I guess I was just caught in the rush of organization and neon yellow. |
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Rhi
Cat People
every story tells a picture, don't it
Posts: 68 
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Post by Rhi on Mar 3, 2013 17:14:48 GMT -5
Hi Suze! Question of my own--as the time period's early 90s, how much inspiration or reference (if any) did you take from design/style/architecture of that period when you started putting together details for backgrounds?
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Post by beccatoria on Mar 3, 2013 17:24:06 GMT -5
Wow, tons of questions! And a few I was thinking of asking already, but I'll throw another in there. Did you always know you wanted to work with sequential art or was that a later realisation? I imagine there's a different skill set at work making sure your art works sequentially in addition to looking gorgeous - was that something that came naturally to you? I ask as a fascinated person who can't draw anything, let alone stories. |
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Post by Suze on Mar 3, 2013 17:27:45 GMT -5
Suze, can you give a bit of insight on how you collect and employ reference for your work? And not just for characters, but I mean also for architecture, vehicles, etc? I ask because one of the things I was so taken by in Issue 1 is the level of consideration you have for detailing an environment...not exactly just intricate details, but how you've given a level amount of thoughtfulness to everything. Hi Clay, thanks very much for the question! Generally I know from the start what kind of space I want to create, then use reference to fill in the gaps and make that space more real. For Gloria downtown for example, I had an idea of what kind of view would work for the page and from there looked at a bunch of city downtown images on the internet. I did a layout design class in college and one of my main take-aways from it was that the real-ness of a location is in the details, so I try and include a lot of details. Things like flags on buildings, bus stops, trash on the ground, etc are natural parts of cities, but I forget about them til seeing them in photos. I also use reference a lot for things that I know I'm just not good at drawing. I think I can draw about 2 or 3 kinds of cars from memory, and they aren't believable at all. |
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I have a bad habit of skimming text sometimes, and wanted to ensure that nothing got left behind. It's generally things like action or scenery notes, though in a couple spots I can't figure out what I was highlighting exactly. I guess I was just caught in the rush of organization and neon yellow.