Saturday, August 25, 2007


Page two from that Paradox Press story I'd blogged a couple months ago.
I'm proud of the Flintstones panel, as well as the Greek Tragedy I drew....


william wray said...

So cool. Never saw this page. I like every panel, brutal expressive wonderful textural inks. Dynamic layout for a bunch of talkin'

:: smo :: said...

i really love those intense strokes that sort of shoot out of the blacks in places, and the cross hatching in the shadows and on the chair and all is stellar!

that mysterious man getting beaned by the club is pretty great too! i'm willing to bet the guy beaning him is an angry mr. slaghoople who caught our bud on a date with another lady...early on in the game of course.

Lovelace said...

jeez. I shudder to think what will befall you when this leaks out.

warren said...

Your composition is really strong. Very cool.

Is this all instinct/experience and a first pass at the page or did you do a series of thumbs first? Got any of those hanging around?

sdestefano said...

thanks for the kind comments.
Warren, to answer your question, yeah this is pretty much all experience and instinct. I'd never really thought about composition until I ended up in LA, and learned about it from the Spumco guys, Bill in particular. I love composition, but feel I've yet to really hit it the way I'd like. Bernie Kreigstein, Alex Toth, Tezuka, Roy Crane, Carl Barks and, believe it or don't, Milt Gross did some of the finest comics compositons I've ever seen--bordering on abstract art---and that's the kind of work I hope to start creating.
I tend not to keep my thumbs. They're just not that interesting to me. My process on this piece, which I did at least ten years ago, was to draw my thumbs right onto the script I was given, monkey around with the thumbs, pencil directly onto the boards, monkey around with the pencils, then ink. And I do believe I monkeyed around with the inks a bit as well, actually doing a paste up over an inked drawing I just wasn't comfortable with.