I was penciling there and was I thinking more in terms of the blacks for inking. There were a couple of shots where the characters are going down into the tunnel, where they're getting into more dark. There was a little bit of experimentation. As we got their input, I went to a simpler kind of drawing style, but it was always being shot from the pencils.ĭid coming from a background of having worked as a penciler, inker or sometimes both on the same project help as far what's essential and the best way to approach drawing the book, knowing that there wouldn't be another step? My only adjustments were, I had done samples that were much more complicated and darker to show the Rand Institute. He had a pretty clear idea of what he wanted when I came onto it.
He was pretty clear on shooting from the pencils and on the three panels to a page format. That was something that Charles had decided. The book is printed directly from your pencils, with no inks involved. The politics, everybody else can sort that out. It's a couple spunky kids in love coming up against society. To me, the politics and all that was incidental. Really, my only concern was that there was a story there. I've worked on "Elfquest." After "Elfquest" followers, Ayn Rand's followers are nothing. Whatever you do, if there are loyal followers, there are going to be objections. Were there concerns about changing or adapting her original script, or have you been in comics long enough that you just accept that sort of response as a matter of course?
That was all I needed.Īyn Rand has a very devoted group of followers. I read it and I could see there was a story there that we could draw.
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