Listen in as we find out what it takes to become a comic book artist. Check it out in this week's episode.

This is Film Center, your number one show for real entertainment industry news.

No fluff, all facts.

Now, here are your anchors, Derek Johnson II and Nicholas Killian.

Film Center News, my name's Derek Johnson II.

I'm Nicholas Killian.

And today we are here with the company Neomyth.

We're here with David Moreno.

And Tronica Zero.

Hello!

Tronica Zero.

Where did you come up with that name?

Um, I came up with it in the early 2000s.

I came up with a handle name for my online persona.

Is that like an AIM handle?

Yeah, like an AIM handle.

What I was talking about in American Online.

Yeah, I started with that.

The name came up when I was watching the movie Hackers.

I guess the guy's name was Cool Zero.

I really loved Cool Zero.

And I love electronica music.

I just put the two together.

Nice.

Do you admit they make, you make comic books, right?

Yeah.

That's correct.

Can you guys tell us a little bit about yourselves?

I was born in Los Angeles, California.

Lived here my whole life.

An actual Los Angeles person.

An actual Angelino, which is a very rare sighting here in LA.

Yeah.

Grew up in the Huntington Park area.

Okay.

Latino base.

Then went to Cal State LA.

And graduated with a BA in Art Education.

And from there, after that, I did some teaching a little bit.

But then I wanted to follow comic books, because that's what got me to draw.

Can you talk about what led you to the inspiration of wanting to do that?

The funny thing is, I never liked drawing to begin with when I was a kid.

I hated drawing.

I hated drawing.

I hated coloring.

I always, I was scribbly.

I didn't care because I wanted, I would get bored very easily.

I had no aspirations of becoming an artist as a kid.

But, there's something about storytelling that I like.

I started off writing my own little short stories.

I even wanted to become a pro wrestler.

Really?

And I was trying to get in shape for that.

Who was a wrestler that you admired when you were young?

Hulk Hogan, you know.

Hulk Hogan?

Yeah.

You wanted to become a wrestler because you saw it on TV?

Yeah, and I'm like that looks pretty cool.

It's like it's action.

I wasn't a sports kid either I didn't play sports or follow sports, but for some

reason wrestling got my attention because that had storyline to it Most likely yeah,

because it was very dramatic who growing up in the 80s with pro wrestling that you

see all the big events It was incredible.

Not so polished the way it is now.

It's very commercialized, but very commercialized.

It's super commercialized So I got into that and I was like, I'll start

training working out But then the doctor said, sorry, your spine is out

of alignment, so you can't do that.

You have scoliosis?

That's what they said, but I don't believe it because I don't feel anything from it.

But who knows, down the road.

He could have just been hatin He could have just been hatin

That could have been his dream?

Yeah.

And you were gonna pursue that dream?

And he was like, you know what?

There's too many people in here pursuing their dreams.

But the funny thing is, when I told my friend that was in pro wrestling,

he's like, Why don't you jump on?

We can make a deal.

It's like, the doctor says my spine's out of alignment.

My spine is out of alignment, so don't worry about that.

So is that guy over there.

But I like it.

I'm already doing this drawing thing and what happened was I was

halfway through high school and there was this show called The Max.

Max, he's a purple superhero and I love that show.

It is awesome.

Yeah, and I wasn't even going to watch that show until my, my,

my cousin who was younger said, can you please record it for me?

It's like past his bedtime.

I'm like, all right, clean my room tomorrow and I'll do it.

So I was never going to watch it, but I watch it and just.

Something compelled me after I recorded it.

I'm like, huh, that was a pretty cool show.

Like dark.

What was it about it that compelled you so much?

Probably the art style itself because it had a very grimy look,

but it's very unique and it had a lot of watercolor elements.

It was very, it was a gorgeous.

A good adaptation of the comic book when I found out that it was a comic book

and it looked pretty much shot for shot.

The next day I was like, I just kept watching it over and over again.

I recorded it.

The same episode?

The same episode, episode one, and I was just rewinding it and I'm like, huh.

I paused it at a certain frame and I started drawing it.

I just got a lined sheet of paper and The cheap, big pen that you get from a dollar

store and just started hatching it out.

I'm like, huh, this looks like the one from the TV.

Hey, because before, I didn't like drawing.

I just didn't.

But you were compelled to just try to imitate it.

What switched?

What switched in your brain?

I think it was just the fact that I did something that I never did before.

And it did well.

Oh, like matching that image with something that, you know, it's so

interesting because the first episode of The Max you have not only 2D,

there's some, there's some live action cops that are in it when

he's in the backseat or whatever.

Right?

So when you're looking at this Grammy owned art style, obviously you had seen

cartoons and other stuff before, right?

But it was the uniqueness of The Max that made you say, oh,

Lemme see if I can do this.

And the way they set it was set it up dark, grimy, you know?

Was it leave it a box to yourself to see if I could do it?

Or was it with just genuine curiosity?

Just pure Dr.

Drive to, I don't know why, but I'm just drawing this like, it's

just something in me was just sparking compelled you to, right.

Is that what made you say that?

Oh, I'm going to keep doing this.

I thought at first I took it to my parents.

They're like, Hey, this is pretty good.

So I guess having that positive reinforcement and it's not about

wrestling questions or anything.

They're like, Oh, he's asking about wrestling?

So when did you decide, Oh, okay, I'm going to be, I'm going to be an artist.

What was the point?

I would say that I started it as a hobby first.

Like And my parents encouraged it because, hey, he's not out there

causing trouble, or getting into trouble with drugs, a 90s kid.

So, sure, here's some more paper.

Get some more paper and pencil and just don't go outside and do something crazy.

Yeah, and then I found out, oh, this is a comic book.

And I'm like, oh, I want to go buy it.

That's where my comic book addiction started.

Dad, take me to the comic book store.

It's Saturdays.

Better than an allowance.

And what would you, what would you say?

He's your favorite comic book, or one of your favorites, or franchise.

I would say that the Max is my inspirational, this is

what brought me to the game.

Now, the, what kind of drove me to become better in my art was

Spawn, the Atomic Fallen Spawn.

Oh my god, Spawn on HBO was so good.

I would say issue number 24.

Why specifically that issue?

The grime, once again, the style.

You really like the grime?

Is that the one with the I like the domineers in that one, am I wrong?

Yeah, I think, if I remember correctly, the Redeemer just beat him in his

costumes about to metamorph into the next stage where he was all spikier

and I just love the grime because I was already starting to copy comic books.

I look at a page and I'm like, I was a pretty good copier.

I would just love all the contours.

It just I was training myself how to draw without knowing.

And then what stage of your life are you in at this point?

I am making my own, because I feel like I have to keep storytelling.

I did want to follow, like, what any kid back then, I want to be in

comics, I want to go to DC or Marvel.

So were you just graduating high school, going into college?

By that point, I was just graduating high school.

But, I was like, how do I get into comics?

Somebody suggested, you gotta go to school and like, brush up on some things.

Like, I was told, get plenty of single trade, life drawing.

But also graphic design, and I heard Todd McFarlane in an interview once saying

that he graduated as a graphic designer.

And I looked it up, and I'm like, we were still doing stuff by hand?

This is like, right before my college got funding in the arts

department for computers, so I was still doing stuff by hand.

And then the computer showed up, and I'm like, oh boy, looks like I

have to learn how to use a computer.

How was that process?

That was interesting.

I was a little worried though because I never used a computer except for

maybe just typing out a report in some English class just using their word

files, but never a Photoshop class.

I think it was Photoshop 5.

0.

Photoshop 5.

0.

So nowadays, do you still doing it by hand or do you like doing it on the computer?

I like both.

I still love traditional, you know, pencil, paper, pen.

But I use the computer to refine my lines.

Probably two rough sketches that I would like, all right, how would

I handle this a different way?

Just not worried about messing up.

So this is, I should say, sentiment in the industry right now, especially

with comics, that some things are kind of looking the same.

And it was, like, the Max is drawn in such a way where it's very

unique, you know what I'm saying?

And, I would also say the same thing for the way that Spawn was drawn.

So it's these more distinctive, gritty styles.

And if there weren't for those styles, you might not have been as interested.

Is there What do you think about the comic books becoming more and more standard?

Because there's a sentiment that some are starting to look the same.

I think that happens every 15 to 20 years because you have

young, up and coming artists.

They're seeing this over and over again and they Start to adapt that

particular style and it starts to get a little watered down.

But like you said, you looked at a style, you were like, you were inspired by

it, but then you didn't copy it, right?

You were just something that you were inspired by.

I copied it as a teenager.

Yeah, but that's when you were like learning.

Learning.

It's different when you're producing it.

So why do you think they're producing some things that might look similar,

that might look quote unquote standard because of time and money?

I would say Time and money and just, it, people have to draw the house style.

There is a house style, who's ever the hot artist, You have to

learn how to draw in that style.

Just that style.

Which is why there is a lot of artists that, Well, I don't want to work for

the big companies, Because I have to draw like that person over there.

And then they would get lost.

And the big machine.

Now that's understandable.

I would tell any young artist, Okay, what do you want to do with your art?

Do you want to make money, be famous?

Do you just want to make money just to eat?

Or do you just want to draw because you love it?

And what do you love to do?

Because those things are going to decide how much money you're going

to make, where you're going to work, where you're going to end up in life.

Right now I'm at a point in my life where I'm like, I want

to do what I want to draw.

I love the classic characters, the ones that are out there,

and it is commercialized.

I would love it when they would say, Reino, why don't you draw for us?

That would be great.

But I'm going to have to try it in my style.

I might not get to pick that, though.

They may say, oh, we want you to tailor.

Even if you're drawing, let's say they ask you Like, if Marvel's like, hey,

we want you to make an Iron Man story.

They're like, okay, there's still probably some certain

guidelines they want you to follow.

Okay, Tony Stark is gonna look like Robert Downey Jr.

I'm like, okay, that's fine.

Or, we're, this is how we want you to draw by the character design.

And that's understandable.

So, who are some of your favorite artists?

There's a variety.

Sam Keefe is the number one for me.

Todd McFarland, let's see, Greg Capullo, Dan Penosian, Alex Ross, and it starts

to range more and more after that.

What is the reason why you like those artists so much?

They're able to pick a moment in time and just make it look exciting.

It's very classical.

I would say that I am classically trained because I did study Da

Vinci, all the Renaissance artists.

Where did you end up going to college whenever you decided, Oh, okay, this is

something maybe that I would want to do.

Did you just choose like a random place, or?

I will admit, I was a C student.

I barely passed high school because I was just I was always, I wanna, I

wanna say I was, I was never diagnosed for dyslexia, so whatever was art

related, I gravitated towards Right.

Whatever was math.

I'm not gonna, I'm bored.

Yeah.

. But I would be interested in like, uh, geometry or something.

And that's useful.

Angles, shapes and angles.

Shapes and angles and colors.

Yeah.

Or history.

I, I'm a big history buff.

Oh, me too.

I, I love anything that deals with, uh, Renaissance or even.

The Napoleonic Wars, stuff like that.

All this awesome history.

And the characters that they just make up.

They were so dangerous they just marooned them on an island.

Or even then, prehistory stuff.

I love finding out this stuff.

That's why I was drawn into stuff like Conan the Barbarian.

How does that stuff inspire you in your art?

I believe that it's It's a very driving force because it's primal.

What's one of the oldest things of communication?

Drawing on caves and just communicating.

So this feeling, and it probably connects to the pro wrestling

stuff because what are you seeing?

Two characters going at it in battle.

It's exciting.

And I used to take action figures when I was still training, just zoom in

and out with just holding him up and up in the light a certain way, trying

to mimic what I would see on paper.

And it's like positioning them in a way that you're like, Oh, okay, cool.

I think that this is the image that I want to see.

When it comes to designing like sections of a comic, because it's not like

each page is only one picture, right?

How do you know your proportions?

I say, Oh, this is three panels here.

This is two panels here.

This is, Oh, I want to stack this one here with this because they're just so.

It's all about the beats of what's going on.

If it's the page is more descriptive than every writer

writes description a different way, depending on what they studied.

I would say sometimes a writer might say, Oh, there's going to be like six panels.

And I'm like, no, you can do this in three.

And simplify, yeah.

Or they'll be like, oh, you're gonna love this, this is gonna

be easy, this is only two panels.

I'm like, no, you should do this five.

Do you find it, do you find some writers are easier to work with than others?

I think I found that the easiest one to work with is my wife because she,

we're pretty much in each other's head.

I was trained.

Wow.

You were trained?

Where were you, where were you trained in your writing this?

Before, I would write anything.

I would just write my own stuff, but Dave pretty much taught me how comics

work and Brought me into the whole industry because before I would just be

like oh Okay, I could write this into a story or let me see what I can do

with this look at a movie And it's like how would I rewrite that or how would

I look at it a different perspective?

How would I execute this scene stuff like uh huh exactly but Dave Turney?

into comics and I was like oh this is not even more interesting let's

break this down into pictures.

So when did you two decide oh we're gonna start a company Dan because there's a lot

of people who they're in relationships and they can't really just because

you're in a relationship with someone doesn't mean that you want to work

with them together and stuff like that.

How did you two know that this was a good fit?

It goes back to our History, our first story where two friends were bringing

us together to work on a project for a video game and they said you can do

some pictures and Do some of the story and we're gonna bring this guy that

we know and he's totally better than all of us like And he's like a great

artist and you got to meet him you got to meet him I was a flaky person still

flaky, but david was gonna fire me on day one because they asked me She's slow

a little she takes a while for you To write i'm like you want me to fire her?

Okay, I'll do it.

I'll do it.

I don't know her.

Yeah, I have no emotion After talking to her a little bit.

I was like, yeah, she's such a nice person.

I'm not gonna fire her Yeah, and then he he saw the ideas that I had for

the story and he was like wow We could totally make this into a comic book, but

but then originally it was gonna be a video game But everybody else flaked out.

This was just college kids trying to make something fired everybody

then I fired everybody until the last person He fired himself every

Artist has their own particular style their own particular process.

Could you walk through your particular process?

Specifically on character design because everyone goes through

character designs in a different way.

Have you even even been someone on the show talking about math?

Or how do you look at your character?

I like to use, like, math.

And I was like, I don't understand what that means.

And he's like, oh, if someone has a certain number of tails, I

might add them or subtract them.

I'm like, seriously?

How do you do your character design?

How do you approach it?

Definitely, it depends what the script dictates.

If it was a client, then I would ask him, Okay, do you have a certain look you want?

Do you have anything pre done already?

Or do you have any magazine covers?

Any actors you wanted to look like?

Like, references.

References, exactly.

I, in fact, I would tell them if you have your own characters, I won't even

charge you for the designs because you already came up with it, but I'm

like, okay, if it's a fantasy story, what period would you like it to be?

If it's power fantasies and it's going to be whatever, if it's a

historical piece, all right, 15th, 16th century, okay, I'm going to go

research that and research costumes.

I did take.

When I finally reached Cal State LA, I actually took one

history of costume design class.

I was the only guy there.

I, yeah, I used to make, I used to make costumes.

DJ used to be a costumer.

Yeah, that's why I came, before I was a writer, I came out to do costumes.

And, yeah, it's, I think there's such a lack of appreciation of that research.

You know what I'm saying?

Right.

There's so many people who are like, oh, I'm just gonna Just dive right into it.

And not that there's anything wrong with that, but when you do a little

research you're gonna have a whole bunch of details that makes it

authentic and unique at the same time.

When you're doing your research, do you, is there a certain place that you're

like, okay, this is where I'm going first, or does it just depend on the story?

It depends really what's going on and if it's action or if

it's just simple dialogue.

All right, what kind of food were they eating at the period?

I, everything.

I, I like to stick to details, but if it's just full blown

fantasy, there's no real reference.

It's all a little bit of reference and I'm like, okay, I can make it whatever I want,

depending on what the script dictates.

Character, characters is always based on what are they going to do down the road?

Are they left handed or right handed?

That's always a, I throw that one and they're surprised

by that kind of question.

How is that relevant?

Not everybody's right handed and I would have to draw that.

Especially if they're in combat.

Oh, you draw like the sword in the left hand.

I was about to hit his ass.

I don't know how you communicate.

And if you ask somebody that does combat, that throws them off.

Or like in Rocky 1 Southpaws.

Southpaws.

I don't want you messing with those Southpaws.

They'll mess you up.

Yeah.

Because you're thinking differently and that's the little tiny details that I,

quiet details that I like to put in.

So, are people who you're drawing as ambidextrous, they're like

dual wielders or something?

Yeah, they would have two knives and they'll be like boom, boom.

Actually, a movie like, I think it was called King Arthur back in the early

2000s, Lancelot was ambidextrous.

He was using two, two blades.

Are you talking about the Clive Owen King Arthur?

Yes.

Lance a lot.

He was ambidextrous, right?

So he fought ambidextrous and I was like, that's interesting because that's

somebody that's just there in any way.

So that's it.

That's even more impressive.

Do you feel that people overlook all of that intense research that you have to do?

I would say some, depending on the level of seriousness, even then from the writer,

I would say there's some writers that.

I want them to be 5'11 right handed, they have a scar here because it's

in their hyper realistic imagination.

Or, they'll say, Dave, go at it.

You have, you can do whatever you want with this character.

Which one do you prefer?

I would say somewhere in the middle, because I would like to say, okay,

where do you want to contribute?

Give me a starting point.

Yeah, because it's starting from nothing is it's a lot harder than

people think Because then I'm building the universe for them and

I'm like, are you sure you want this?

Because you don't know if they're gonna like it or not, right?

They're telling you hey do whatever you want, but then whenever you

give them whatever they want, are they really going to like it?

Right.

Do you find that the images that you draw, like how you draw them

affects the way you color them too?

Or is that really more of a shading thing?

No, actually it does, it is important.

I don't color, I know how to color, but I'd rather have somebody A colorist.

Colors that knows what they're really, because It comes down to

practically, coloring is like chemistry.

And you have to think of the atmosphere, time, when the sun's

setting a certain time, and then if there's a haze, if there's supposed

to be a haze and it's a battle and there's smoke, it affects color.

Even a rainy day affects tonal stuff.

So I'd rather have somebody that's super good at it.

And just let them handle that.

But I always have that in mind because over time I learned.

My, my art at first was very hatchy, it was a lot of cross hatching.

So for people who might not, because we do have a lot of people who are

in the industry who listen to the show, but for people who aren't,

what does that mean exactly?

I'm using a lot of cross hatching, which is, I'm letting my inks do the rendering,

but because now there's, coloring has advanced so much from the 70s and 80s.

People, the colors have gotten an upgrade.

Yeah.

In their tools, so.

You have to give them that more leeway for them to render certain things.

Now, I can still have a very hatchy style, but I gotta keep in mind, alright,

leave room for the colorist so that way they could, like They can shine.

They can shine.

Can you speak to how it used to be in the 70s and 80s and how it's upgraded

so much now for the audience at home?

I was born in 79, so I only got the tail end of things, but From what I've studied,

there was a, colorists were using markers and papers before, like they were just old

school coloring directly on the artwork.

Straight up coloring.

Right.

Break out the Crayola.

Well not Crayola exactly, you know what I'm saying.

Coloring by hand.

They'll be coloring by hand and on paper.

Then that eventually started changing when the technology started upgrading.

You had Pantone and companies like that, just digitally printing stuff.

It was, the press was changing.

Back in the seventies, people were crank, hand cranking their comics.

They would get a little hand crank, one sheet and then put it together, staple it.

Then the eighties, it started upgrading and around the nineties, like when

I started taking classes, we were already, we had to learn, okay, if

you're, if in reality, you're coloring.

It's going to be different when you put it in the computer, or if you

create it in the computer, you've got to keep in mind, you've got to turn

the red, green, and blue to CMYK.

And then because it prints, it can't, the computer, you can do all these

wonderful colors in the computers, but in reality when you're printing

it, the ink doesn't take those exact colors, so you have to adjust.

Do you have to, do you have to use certain printers?

Nowadays?

It's now because of laser printing, you could really, it's actually

gotten cheaper to cover because the technology has just upgraded so much.

And even then the technology comes up by where we don't really

need paper in the industry.

But I like using it because I like the feeling of it, because I grew up on it.

I would, I believe that in two generations, there won't be

any paper anymore in comics.

As far as the production.

Like, when you look at Japanese anime, they don't use cell animation anymore.

It's all computers now.

And even then, I would think that the bigger companies,

they're drawing on a big tablet.

Just for production's sake.

It's all about speed as far as the productions.

Do you find that the techniques that you hone back in the 90s.

Do you find them to be an advantage nowadays?

Yes, because of the technology failed, I can just whip out some

paper and still get it done.

Because the reason why I asked is because my dad's an engineer, right?

And the way he grew up was just drawing it.

Right?

The advantage for him is he can just draw it, whatever he needs, out in the

field instead of having to go do it on the computer and waiting for it.

Is it, is that basically the same thing in your field?

Right.

If I, if I worked on it hard enough, I could just do it just single

handedly, like The old way and it won't be any different is it might

take a little longer but having that advantage could help To the point

where okay, our machines are broken.

What do we do?

We're gonna keep working and but if you don't know how to draw Yeah, then do

you still design on paper sometimes and then and then transfer it to digital or

is it like all just design digitally?

I would say something like basic graphic designs where you're doing lettering And

shapes, let's say for a, for a sign, like a Starbucks sign or something, or, or I

like to go into the computer because I can just take the shape and manipulate it.

But, I, it's better to do it on paper because it's analog.

You're, you're manipulating the shape.

What feels right?

What's sharp?

What's soft?

You're more in tune.

Right.

With the actual art itself.

So, by that means, it's, that's how I was trained.

Because I started graphic design Just before the computers

were standard in colleges.

So you still had computer labs.

Is there anything that we might not know that is super crucial

to what you do that people, it wouldn't even cross their minds?

I would say, I would say you have to really be confident in your

line art when you're drawing.

Because I've YouTubers, a lot of people do it but they don't

realize they're doing it.

When you're seeing these speed drawings and you're, you're seeing the

process fast forward, yeah, you notice they undo the lines all the time.

And all they have to do really is just, let's say you want to do a curve line.

Yeah.

Use anchor points, click one, one side, click on the other curve and you're done.

But people want to draw that line so badly digitally that if it

doesn't feel right, they undo it.

And I noticed that that slows down it might slow it down by a couple of seconds,

but you your mind wants it to be perfect Yeah, but you even then real art isn't

perfect because that line if you zoom in it's gonna be crooked regardless

I've zoomed in on my own line art.

Oh, look at all this crusty edges.

No, that's just ink That's just the ink naturally on the paper.

And the craziest part is that as artists you're very You know judgmental

on yourself And, but then some of the audiences don't even notice it.

They'll have no clue, no They can't even see the mistakes that

you might see in the first place.

Right.

So then it's okay, not that you don't want it to be the best of your abilities,

but at the same time, like you said, okay, does it have to be perfect?

No.

I would say it depends on if I work hours on a piece.

I personally go crazy if something, there was like a little mistake, I'm

like, or let's say I accidentally left a little tiny dot in that

that's not supposed to be there.

Let's say by splatter or something that would bother me because I know it's there.

That's a personal thing because editors should be seeing that anyways.

And so if you're working for a bigger company, you have a whole assembly

line of people just looking at work.

It's slightly tougher when you're on your own to see little tiny

mistakes, which is, it's valuable to.

Say if you got some friends that are trusting And they're straight up,

they'll like, check out your work and say, Hey, does this look right?

Does this, and like I tell my wife, Hey, does this look, this arm look right?

Get a fresh pair of eyes.

And what is it that you, you say?

I'm the worst judge or the worst editor that you, The editor of your nightmares,

they'll be like, Hey Dave, you know what?

That angle doesn't look right.

It's just, it looks like you're having a tough time.

Do you mind doing it again?

And I could be done with a complete piece of the whole page and I

just rip it up and start over.

The whole page is ripped up.

You do the whole thing and start over?

Yeah, like four or five, he's like in six panels and then one

of the panels doesn't look right.

And I tell this to Dave, I go, you're gonna hate me for this.

And then he looks at it, he picks it up, tears that thing apart.

And uh, it has to start all over.

Yeah, but but then it breaks my heart too.

Everything else looks great.

I have learned to calm down and i'll just photoshop that like

Like i'll just because i'm so you edit it instead of starting over.

Yeah, because i've noticed if it's a small thing i'm like I'll just cut

a piece of Bristol board and just scan that and then put it in later.

But because I came from just having editors look at my work,

I want to show pristine pages.

So there's that old school kind of thinking, which isn't bad, but it's

like a little hindering because production, I've got to get this done.

If we're near a deadline, I won't tear it up.

I'll just have to bite the bullet.

I'm like, all right.

I'll leave this page out, or I'll put the page, I'll cut this

out, put another piece, and I can do that on the computer too.

I've done that.

It's just when, if I don't, if it's a pose, let's say a power pose, you

have two characters in action, and I don't have The root of it, which is

the gesture drawing itself the what I usually start off I start off with

gesture drawings Just the getting that motion if the motion is incorrect,

then the whole piece is incorrect because that is the root Of that of it.

All right, if I'm gonna get that arm, right?

I have to do it completely over or if that twist isn't proper

Anatomy, then I have to, the problem is in the root of the drawings.

So yeah, the problem's all the way back in the beginning.

It's really great to have you on the, uh, on the show.

Is there any way that, that people can follow you?

You could follow me on Instagram, dark sky, the Dark Sky, the 35 at Gmail.

You could also follow me on the sapphire directive.com.

TheSapphireDirective.

com And on Facebook with the same name, The Sapphire Directive.

Wow.

Dope.

Dope.

I really appreciate you coming out.

Is there any advice that you would give people who want to get

started in doing what you're doing?

Good luck, up to you.

I would say if you have stories to tell, drawings to do, do it

and do it the best that you can.

Throw everything you've got.

If you're looking to get into the professional DC Marvel, keep trying

but understand that you will have to adapt to whatever the house style is.

And you have to push your own career once you're past that.

Meaning you're not going to draw for them forever.

It's like pro wrestling.

You just, you're there for a little time, but make it everything

you got and then push yourself outside, learn everything you can.

Thank you so much for coming on the show and we appreciate it.

My name is Derek Johnson II.

I'm Nicholas Killian.

And we're here with David Moreno.

And Electronica Zero.

And we'll see you next time.

Thank you very much.

Thank you.

This has been Film Center on Comic Con Radio.

Check out our previous episodes at comicconradio.

com.

You can follow the show at Film Center News on all major social media platforms.

Tune in next Wednesday for a fresh update.

Until next time, this has been Film Center.

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