Misplaced Pages

#135864

79-579: Jeremiah Joseph Ordway (born November 28, 1957) is an American writer, penciller , inker and painter of comic books . He is known for his inking work on a wide variety of DC Comics titles, including the continuity-redefining Crisis on Infinite Earths (1985–1986), his long run working on the Superman titles from 1986 to 1993, and for writing and painting the Captain Marvel original graphic novel The Power of Shazam! (1994), and writing

158-626: A Human Bomb limited series which was written by Justin Gray and Jimmy Palmiotti . Ordway and artist Steve Rude produced a Superman story for DC's Adventures of Superman digital series in 2014. Ordway drew the "Five Minutes" chapter in Action Comics #1000 (June 2018). He drew the new cover art for the trade paperback collection Wonder Woman By Walter Simonson and Jerry Ordway , collecting Wonder Woman vol. 2, issues #189–194 in 2018. Ordway received an Inkpot Award in 1994. In 2017, he

237-464: A kneaded eraser before rendering greater detail. For more detailed erasures, he uses a pencil-shaped white eraser , and to erase large areas, he uses a larger, hand-held white eraser, the Staedtler Mars plastic, which he calls a "thermonuclear eraser", because it "takes care of everything". Artist and former Marvel Comics editor-in-chief Joe Quesada begins with sketches much smaller than

316-472: A "sketchy" feel, with a minimal amount of powdery lead smearing. He uses this lead because it strikes a balance between too hard, and therefore not dark enough on the page, and too soft, and therefore prone to smearing and crumbling. Campbell avoids its closest competitor because he finds it too waxy. Campbell has also used HB lead and F lead. He maintains sharpness of the lead with a Berol Turquoise sharpener, changing them every four to six months, which he finds

395-488: A 2003 interview, " Jim Shooter had all but informed me that, in his opinion, my art sucked and that I would never get another raise there, regardless of how well my books were selling. So one quick phone call to DC and I was in." Broderick was one of the artists on the double-sized Justice League of America #200 (March 1982). He and writer Gerry Conway launched The Fury of Firestorm in June 1982. Broderick briefly drew

474-461: A 2H pencil, and after inking his pencils with a Micron pen , he edits his line work on a graphics tablet. Artist Marcio Takara begins his pages with 7 in × 5 in (180 mm × 130 mm) ink thumbnail sketches with which he shows his overall ideas to his editor. When he begins the actual pencils, he keeps them "loose", because he will eventually ink over them himself, and does not require greater specificity. The penciling stage

553-501: A Vanish eraser and a kneaded eraser . Artist Chris Samnee uses 300 series two-ply Strathmore Bristol board. He does not use non-photo blue pencils or any other equipment purchased at specialty stores for preliminary sketching, but uses .9 mm mechanical pencils that he purchases from Target . He describes his pencils as "just awful", and inks them himself, as he cannot envision giving them to someone else to ink. Writer/artist Chuck Austen did his work on Elektra entirely on

632-457: A computer. He prefers uses mostly Macintoshes, but also uses PCs . When using a Mac, he uses Ray Dream Studio , and when using a PC, usings 3D Studio Max . These allow him to take three-dimensional models and break them down into simplified two-tone line forms. He purchases the models from catalogues, or uses ones that he built for Strips using in Hash or Animation:Master . After importing

711-596: A custom 8 in × 12 in (200 mm × 300 mm) stock because she sometimes finds those dimensions more comfortable and easier to work on more quickly. She also finds the Strathmore 300 series "pretty good" likes its nice texture and greater affordability, but says that must occasionally content with getting a "bleedy batch". Conner uses mechanical pencils with .03 lead because she found it easier to use than regular pencils that require her to stop and sharpen them frequently. Once artist Gene Ha obtains

790-475: A decade later to write and illustrate a three-issue arc of The Avengers vol. 3 #16–18 (1999), guest artist on Captain America (vol. 3) #32 (Aug. 2000) with writer Dan Jurgens , as well as penciling the four-issue crossover mini-series Maximum Security (#1–3 and prologue Dangerous Planet ), and writer/penciller on a U.S. Agent mini-series in 2000–2001. He was artist for the one-shot Captain America and

869-665: A given day, he prefers to use a 500W incandescent photo lamp, though he believes a 500W halogen lamp is also adequate. He prefers to use a lead holder with H lead for sketching, and 2B lead for shading, which he sharpens with a rotary lead pointer, believing that such leads can be sharpened better than a traditional pencil. He blows up a scan of each page layout to 8.5 in × 11 in (220 mm × 280 mm), and draws "tight" pencils on top of these, which are then scanned and printed on 11 in × 17 in (280 mm × 430 mm) inkjet paper in faint blue line . He prefers Xerox paper because he feels that

SECTION 10

#1732791202136

948-528: A light box to pencil it, sometimes altering elements in the design such as lighting or other details. Bryan Hitch begins with multiple rough sketches employing different camera angles on paper with a blue pencil, which traditionally does not photocopy or scan, and then selects the desired elements from the rough sketch with a graphite pencil. After picking the initial shapes, he will further emphasize his selections with colored pens, continuing to attempt different variations. He will then, depending on how late in

1027-457: A particular favorite. Ordway was the penciller and inker for the DC Comics adaptation of the 1989 Batman film which was published as a "movie special". Ordway has noted that "Inking is a weird job, because as much as you put into it, the page still belongs to the penciler." In 1986, along with writer/artist John Byrne and writer Marv Wolfman , Ordway revamped Superman , in the wake of

1106-416: A professional drawing board, he emphasizes that any inexpensive board large enough to hold the paper is sufficient, as he mostly uses a piece of roughly cut chip-board leaning on the edge of his desk. He uses an Apple iMac desktop computer, flatbed scanner and Photoshop to modify his artwork digitally. In contrast to Hitch's work environment, artist Simone Bianchi says that he cannot work unless he

1185-402: A script, a penciller may feel when drawing the scene that there is a different way of composing the scene, and may disregard the script, usually following consultation with the editor and/or writer. Some artists use a loose pencilling approach like Agnes Sedem and Andy, in which the penciller does not take much care to reduce the vagaries of the pencil art, leaving it to the inker to interpret

1264-502: A script, he makes "tiny" thumbnail sketches of each page, and then makes layout sketches on shrunked copies of comic art board, two per page. It is at this stage that he works out the light/dark balance of the page. Though he says about 90% of his artwork are done without photo reference, he will sometimes photograph his friends pose as the central characters, or use a full length mirror to draw himself. He renders minor characters from his imagination. Irrespective of how much sunlight he has on

1343-687: A short "Epilogue" story in Mark Evanier 's DNAgents No. 18 (Jan. 1985). He produced Munden's Bar for First Comics , and provided pencils and inks on an issue of T.H.U.N.D.E.R. Agents . For Image Comics , Ordway co-created the character WildStar with Al Gordon in 1993, and published his creator-owned one-shot The Messenger in July 2000. Although the vast majority of Ordway's professional work has been produced for DC, Ordway inked issues of Marvel's Fantastic Four . He produced occasional work for Marvel between 1984 and 1988, then returned

1422-400: A slightly softer lead (like a HB ) for finishing phases of the drawing. Still other artists do their initial layouts using a light-blue colored pencil because that color tends to disappear during photocopying . Most US comic book pages are drawn oversized on large sheets of paper, usually Bristol board . The customary size of comic book pages in the mainstream American comics industry

1501-442: A standard Dixon Ticonderoga #2 pencil with HB lead, explaining, "It's mushy as all hell but it doesn't slow me down like a harder pencil would." While reading each page of a script, artist Amanda Conner does tiny thumbnail sketches with stick figures corresponding to the story indicated on each page, in order to help her design the page's layout. She then does tighter, more elaborate sketches, though still fairly small compared with

1580-425: A ten-foot-wide basement studio dubbed "The Dungeon" by his family. When starting with a clean piece of Bristol board, he would first draw his panel lines with a T-square . Arthur Adams begins drawing thumbnail layouts from the script he is given, either at home or in a public place. The thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. He or an assistant will then enlarge

1659-468: Is Marc Silvestri , who says that he listens to down-tempo chill music while working, in contrast to the alternative rock he listens to at other times. On the Biography & Bibliography page of his website, Erik Larsen explains that he uses a Staedtler Mars Lumograph 100 2H pencil, and a Staedtler Mars Plastic Eraser. However, on the site's Frequently Asked Questions page, he states that he uses

SECTION 20

#1732791202136

1738-508: Is 11 by 17 inches. The inker usually works directly over the penciller's pencil marks, though occasionally pages are inked on translucent paper, such as drafting vellum , preserving the original pencils. The artwork is later photographically reduced in size during the printing process. With the advent of digital illustration programs such as Photoshop , more and more artwork is produced digitally, either in part or entirely (see below). From 1949 until his retirement, Jack Kirby worked out of

1817-419: Is a traditional pencil cut with a craft knife , which he says can produce a variety of marks, and be used for detail, shading and general sketching. Hitch believes the best results combine both the mechanical and the knife-sharpened traditional pencil. Hitch is particular about his studio workspace, which does not contain a TV or sofa, stating that such things belong in the lounge for relaxation. Despite using

1896-422: Is different from previous ones, for which she characterizes it as "one intense, ongoing experiment." She begins with thumbnails, roughly drawn on printed paper templates. During this stage Staples does not use reference, but does so later in the inking stage. During the thumbnail stage, she gives copious thought to the layouts and staging, making it, in her words, the most important part of the process. After scanning

1975-404: Is listening to music, which he does via stereo speakers placed above his drawing board, and an extensive music collection in his studio. Bianchi uses extensive photo reference and a lightbox to give his artwork a realistic look. He uses a wooden drawing board that he used to draw on flat, but angled it due to back pain that he began having in 2006. Another artist who listens to music while working

2054-402: Is not accustomed to. Because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally. Jim Lee is known to use F lead for his pencil work. J. Scott Campbell does his pencil with a lead holder , and Sanford Turquoise H lead , which he uses for its softness and darkness, and for its ability to provide

2133-452: Is the duration of their grinding ability. Campbell uses a combination of Magic Rub erasers, eraser sticks, and since he began to ink his work digitally, a Sakura electric eraser . He often sharpens the eraser to a cornered edge in order to render fine detailed work. Travis Charest uses mainly 2H lead to avoid smearing, and sometimes HB lead . He previously illustrated on regular illustration board provided by publishers, though he disliked

2212-415: Is the fastest stage for Takara, who does all of his pencil work with an HB 0.5 mechanical pencil, completing two or three penciled pages a day, sometimes even inking all three by the end of the day. Frank Cho produces his artwork on Strathmore 300 Series Bristol Pad, which has a vellum surface. To pencil his artwork, Cho uses a Pentel mechanical pencil with 0.7mm HB lead . For erasure, he uses both

2291-1016: The Batman feature in Detective Comics in 1985. Captain Atom , a Charlton Comics character purchased by DC, was given an ongoing series in March 1987 which was written by Cary Bates and drawn by Broderick. Writer Marv Wolfman and Broderick created Tim Drake in the " Batman: Year Three " story. Broderick drew the Swamp Thing series from 1989 to 1990 and then launched the Green Lantern volume 3 series with Gerard Jones . After ten years at DC, Broderick's relationship with that company soured. According to him, he "was being abused by [his] editors, Andy Helfer and Kevin Dooley , and

2370-583: The Commodore Hotel . Presenting his work to DC editors Sol Harrison and Joe Orlando , Broderick was almost immediately placed in the junior bullpen program and drew filler pages and short stories for various 100 Page Super Spectaculars . During this period, Broderick also worked for Neal Adams and Dick Giordano 's Continuity Associates as a member of the Crusty Bunkers . In 1975, after sporadic work with DC and Marvel, Broderick joined

2449-461: The Marvel Method . Sometimes a writer or another artist (such as an art director ) will include basic layouts, called " breakdowns ," to assist the penciller in scene composition. If no breakdowns are included, then it falls to the penciller to determine the layout of each page, including the number of panels, their shapes and their positions. Even when these visual details are indicated by

Jerry Ordway - Misplaced Pages Continue

2528-784: The Superheroes Golden Beginning Stampbook '79 . Having produced comics-related artwork for fanzines and licensed publishers, Ordway attended "a talent search at the 1980 Chicago Comicon," held by DC Comics. After showing them his "DC related artwork from the Golden Books," he "walked away with a promise of work." This work began in the summer of 1980 for "DC's anthology comics", (including Weird War Tales and Mystery in Space ) in which he "inked Carmine Infantino , Trevor Von Eeden , as well as Joe Staton , and Dave Cockrum ." After continuing to work at

2607-420: The non-photo blue lines printed on them. By 2000, he switched to Crescent board for all his work, because it does not warp when wet, produces sharper illustrations, and are more suitable for framing because they lack the non-photo blue lines. Charest usually prefers not to employ preliminary sketching practices, such as layouts, thumbnails or lightboxing , in part due to impatience, and in part because he enjoys

2686-531: The 'zine, which featured a pin-up of a character "called Acrobat" who was "the first superhero [Ordway] created. His birth was Dec. 1969." Spending the late 1970s working as a painter in a commercial art studio in Milwaukee, between 1978 and 1979, he provided illustrations for a number of fanzines and pro-zines, including Omniverse and The Comics Journal . His first professional work was for Western Publishing 's Golden Books on young-reader Marvel books, and

2765-427: The 2001 movie, Jimmy Neutron: Boy Genius . In 2003, Broderick returned to comics with the short-lived Future Comics . He was scheduled to work on the title Peacekeepers , but it was never published, and Future went out of business shortly thereafter. In 2004, Devil's Due Publishing revived Micronauts , with Broderick returning to the title. He drew three issues before it was cancelled. That same year, Broderick

2844-491: The 50th anniversary celebrations for Superman, he inked John Byrne 's pencils for the cover of the March 14, 1988 issue of Time magazine and an interior spread celebrating the Man of Steel's anniversary. Ordway has produced a large number of covers for DC from 1982 onwards, including for issues of Secret Origins and the painted cover art to the hardcover reprint collection The Greatest Golden Age Stories Ever Told . He produced

2923-517: The Bold (volume 2) (#11–13, May–July 2008) with writer Mark Waid , and pencils for Justice Society of America Annual No. 1 (Sept. 2008), alongside some interior artwork for the ongoing Justice Society of America series during late 2008. In 2012, Ordway worked on a Challengers of the Unknown storyline for DC Universe Presents with DC Co-Publisher Dan DiDio . Later that same year, he drew

3002-661: The DC Universe, in which the two of them re-imagined DC's Justice League of America . He inked the last year (May 2002–May 2003) of the Batman-related title Azrael: Agent of the Bat (#88–100), and provided the artwork for a six-issue story arc in Wonder Woman (vol. 2, issues #189–194), with writer Walt Simonson in 2003. In 2004, Ordway was inker on JLA issues #94–99, the “Tenth Circle” story arc which reunited

3081-616: The Invaders: Bahamas Triangle with writer Roy Thomas, released in July 2019. As well as inking most of Crisis on Infinite Earths , Ordway inked the second of DC's continuity-redefining event titles in 1994 by inking writer-artist Dan Jurgens ' pencils on Zero Hour: Crisis in Time . In 2001, he drew the one-shot Just Imagine... Stan Lee with Jerry Ordway Creating the JLA as part of Marvel-stalwart Stan Lee 's foray into

3160-516: The Ordway-inked continuity-redefining maxiseries Crisis on Infinite Earths . Launching, with a revised origin and new continuity, in Byrne's miniseries, The Man of Steel , Superman soon returned to featuring in a number of titles. After the titular title Superman was cancelled and replaced with The Man of Steel , it was relaunched as The Adventures of Superman , continuing the numbering of

3239-569: The Sky" and " The Death of Superman " storyline in 1992. After seven years working on the character, Ordway largely left the Superman titles in 1993, although he would make frequent returns to the character as writer and throughout his career, co-writing Adventures of Superman with Karl Kesel from issues #539–540, 558–562, 564–567 in 1996, and 1998–1999. In Nov. 2017, he drew the variant cover for Action Comics #992 (cover dated Jan. 2018). During

Jerry Ordway - Misplaced Pages Continue

3318-451: The Wolf in 2000. The penciling process that artist Adam Hughes employs for his cover work is the same he uses when doing sketches for fans at conventions, with the main difference being that he does cover work in his sketchbook, before transferring the drawing to virgin art board with a lightbox, whereas he does convention drawings on 11 x 14 Strathmore bristol, as he prefers penciling on

3397-423: The actual size at which he will render the final drawing. He employs a Cintiq drawing tablet when he desires to do a "tighter" digital layout of an illustration. When sketching figures, he will sometimes use photographic reference, and incorporate the photos directly into his sketches during the process of finalizing a layout. Once he makes a final decision on a layout, he will then print it out at full size, and use

3476-707: The art studio for a further six months, inking comics for DC by night, Ordway began "freelancing full time in February 1981." During the mid-1980s, he "shared a studio with other artists, including Machlan , Pat Broderick , and Al Vey ". At DC, he would illustrate All-Star Squadron , a series which he helped launch in an insert preview in Justice League of America No. 193 (Aug. 1981). With writer Roy Thomas , he co-created Infinity, Inc. in All-Star Squadron No. 25 (Sept. 1983) and

3555-524: The art. Other pencillers prefer to create detailed pages, where every nuance that they expect to see in the inked art is indicated. This is known as tight pencilling . Pat Broderick Pat Broderick (born November 26, 1953) is an American comics artist , known for his work on the Micronauts and Alpha Flight for Marvel Comics , and Legion of Super-Heroes , Captain Atom and Green Lantern for DC Comics . Broderick also pencilled

3634-541: The artwork for the flashback scenes set on Earth-Two , including a recreation of the cover to Action Comics #1 , which he cites as another favorite piece of his. In the wake of Infinite Crisis , he inked Dan Jurgens ' pencils once again in the "History of the Multiverse" back-up stories in the weekly comic book Countdown (issues No. 39 and No. 38, Chapters 11 and 12) (October 2007). His work since 2008 includes pencilling three issues of The Brave and

3713-401: The artwork rendered. Conner has created her own paper stock and blue line format on her drawing paper, because, she explains, she likes having those configurations pre-printed on the page, and feels that "sometimes the rough is too toothy and the smooth is too slick." The stock she uses is the 10 in × 15 in (250 mm × 380 mm) Strathmore 500 series, but she also orders

3792-463: The comic book's editor , who commissions a script from the writer and sends it to the penciller. Comic book scripts can take a variety of forms. Some writers, such as Alan Moore , produce complete, elaborate, and lengthy outlines of each page. Others send the artist only a plot outline consisting of no more than a short overview of key scenes with little or no dialogue. Stan Lee was known to prefer this latter form, and thus it came to be known as

3871-677: The comics industry as an artist and publisher for small-press comics fanzines . Ordway discovered Marvel comics in "June of 1967," and wrote in 1975 (aged 17) that he had "been drawing superheroes [ever] since." His first published work, a story entitled "The Messenger", appeared in Tim Corrigan's Superhero Comics No. 4 (April, 1975), and his own self-published fanzine Okay Comix followed in May–June, 1975. Okay Comix featured stories by Ordway and his friend Dave Koula, and art predominantly by Ordway himself. Ordway's own hero "Proton" headlined

3950-518: The cover art for the prestige format graphic novels , Superman: The Earth Stealers in 1988 where he inked Curt Swan 's pencils and Superman For Earth (1991), among other work. In 1994, Ordway masterminded the return of the original Captain Marvel to the DC Universe with the 96-page hardcover graphic novel The Power of Shazam! , which he both wrote and painted. The story saw Ordway depict

4029-430: The day it is, either redraw the illustration on a sheet of layout paper or use his lightbox to tighten and clean up the drawing, emphasizing that the lightbox should not be a mere exercise in tracing, but an opportunity to refine or change elements in the drawing to make it "clean" enough to be inked. When Hitch transfers the drawing to the final art board, he does initial layouts with a 2H pencil, which he feels provides

SECTION 50

#1732791202136

4108-547: The details with a Number 2 pencil . He drew the first three chapters of " Jonni Future " at twice the printed comic size, and also drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. For a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them. He will use photographic reference when appropriate, as when he draws things that he

4187-428: The end of the series' run, he again took on the dual role of writer & artist with issues #42–47. During the mid-1980s, Ordway provided covers and occasional artwork to titles from a number of different comics companies. Companies included Wendy and Richard Pini 's WaRP Graphics , AC Comics , Charlton Comics , Paragon Publications and fan-turned-pro Marty Greim . For Eclipse Comics , Ordway provided pencils for

4266-439: The files to Photoshop, where he fully renders the art at a resolution of 1,200 dpi , creating between five and fifty layers of finished art before flattening it into a single black and white bitmap , plus a greyscale page, if needed. Another artist who does her work almost entirely digitally is Fiona Staples , who switched to that process several years prior to beginning her work on Saga , though her process for that series

4345-493: The finished artwork, approximately 4 in × 6 in (100 mm × 150 mm), and then blows those up on a photocopier to the proper original comic art size, which is 10 inches x 15 inches. She then uses "very tight pencils" to light-box it onto Bristol board , if she intends to have it inked by her husband and collaborator, Jimmy Palmiotti, but will do the pencils "lighter and looser" if she intends to ink it herself, as she already knows how she wants

4424-578: The former Uncanny X-Men creative team of writer Chris Claremont and artist John Byrne . From 2003–2008, he provided new covers to the Superman: The Man of Steel series of six trade paperbacks, collecting the early adventures of the Post-Crisis Superman. To celebrate the twentieth anniversary of the original Crisis , DC published Geoff Johns ' Infinite Crisis limited series (Dec. 2005–June 2006), for which Ordway provided

4503-517: The four-part " Batman: Year Three " storyline, written by Marv Wolfman , which detailed the first meeting of Batman and Dick Grayson as well as Tim Drake 's first appearance. Soon after graduating from high school in Tampa, Florida , Broderick flew to New York in the early 1970s to compete in DC Comics ' junior bullpen program, a nationwide art and writing contest held at the July 4 convention at

4582-609: The ground floor up at the art studio" between 1978 and 1981. Among the artists Ordway considers influential are Curt Swan , Jack Kirby , Gil Kane , John Buscema , Steve Ditko , all of whose pencils he would later ink over. He cites Gene Colan , Wally Wood , Alex Raymond , Hal Foster , and Roy Crane as early inspirations. He names contemporaries such as Lee Weeks , John Romita Jr. , Ron Garney , Mike Weiringo and Alan Davis , and inkers such as Joe Sinnott , Dick Giordano , Tom Palmer and Klaus Janson . Before beginning his professional career as an inker, Jerry Ordway entered

4661-411: The humid weather tends to dampen the paper, he sometimes uses a B lead or 2B lead , which acts like a 4B in that environment. However, his website explains that he uses 6B lead, with some variation. For pieces rendered entirely in pencil, he employs a variety of pencil leads of varying degrees of hardness. After darkening in the construction lines that he wishes to keep, he erases the lighter ones with

4740-504: The modeling programs cannot perfect, such as facial expressions, hair, filling in blacks, rendering clothes and wrinkles, etc. To finish the art, he will either print out the "pencils" directly onto Bristol board and finalize them with an HB Tombow pencil and ink them with a #2 nib, or will apply the finishes in Photoshop. Scott McCloud also does his work almost entirely on a computer tablet . Although he sketches his layouts in pencil,

4819-401: The models into Studio or Max , he arranges the angles and other aspects of the scene before rendering them, such as placement of background objects or modifying gestures, while the computer corrects elements such as perspective , foreshortening , proportions, etc. After the files are rendered to Austen's satisfaction, he assembles them into page form using Photoshop , completing details that

SECTION 60

#1732791202136

4898-535: The necessary accuracy and detail, and uses an erasable blue pencil to mark panel frames and vanishing points , which he introduces after the rough stage. He chooses not to put too much time or polish into this stage, preferring to work quickly, lightly and instinctively. He uses a mechanical pencil with 0.9mm 2H lead at this stage for fine outlines and detail work, and a traditional pencil for more organic work, including softer lines, shading large areas and creating more fluid motion. The "best tool of all", according to him,

4977-604: The new team was launched in its own series in March 1984. Ordway inked DC Comics Presents Annual No. 4 (1985) over artist Eduardo Barreto 's pencils, was one of several artists on Batman Annual No. 9 (July 1985), inked George Pérez 's pencils on the epic crossover miniseries Crisis on Infinite Earths in 1985 and Superman artist Wayne Boring 's pencils for a retelling of the definitive Golden Age Superman origin story written by Roy Thomas in Secret Origins No. 1 (April 1986), which he considers

5056-410: The ongoing monthly series from 1995 to 1999. He has provided inks for artists such as Curt Swan , Jack Kirby , Gil Kane , John Buscema , Steve Ditko , John Byrne , George Perez and others. Jerry Ordway attended Milwaukee Technical High School , where he took a three-year commercial art course, before joining a commercial art studio as a typographer in 1976. He subsequently worked his way "from

5135-553: The original Superman series, with Wolfman as writer and Ordway as artist. When Wolfman departed the title with issue #435, Byrne briefly took over script writing duties before Ordway assumed the mantle of writer-artist and took over the series solely with issue #445 (Oct. 1988), making his writing debut two issues earlier with #443 (Aug. 1988). Ordway had also served as co-plotter on a few issues during both Wolfman and Bryne's writing tenures (issues #426, 435–437, 439–442, and 444). Switching from The Adventures of Superman , Ordway became

5214-428: The penciller's intent. Fun fact, they created this technique in the 1900s in order to find criminals. In those cases, the penciller is usually credited with " breakdowns " or " layouts " and the inker is credited as the "embellisher" or "finisher". According to former Marvel editor Gregory Wright , John Buscema was a noted penciler whose breakdowns included all the structural essentials that enabled inkers to complete

5293-409: The plot. A penciller works in pencil . Beyond this basic description, however, different artists choose to use a wide variety of different tools. While many artists use traditional wood pencils, others prefer mechanical pencils or drafting leads. Pencillers may use any lead hardness they wish, although many artists use a harder lead (like a 2H ) to make light lines for initial sketches, then turn to

5372-488: The remainder of his work is done digitally, explaining in his 2006 book Making Comics that he had not used traditional materials like Bristol board, pens or brushes in years. After sketching layouts, which he says are "pretty tight", and include the full script, he scans them into an 18-inch tablet/monitor to use them as a guide for lettering them in Adobe Illustrator . After completing the lettering, he exports

5451-401: The revamped origins of the former- Fawcett Comics superhero. It proved to be a success, and was followed by an ongoing monthly series, also titled The Power of Shazam! (which ran between 1995 and 1999). Ordway wrote and provided painted covers for the entire run of the regular series, as well as illustrating fill-in issues between series-regular artists Peter Krause and Mike Manley . Towards

5530-480: The rougher, vellum surface rather than smooth paper, preferring smoother paper only for brush inking. He does preliminary undersketches with a lead holder , because he feels regular pencils get worn down to the nub too quickly. As he explained during a sketch demonstration at a comic book convention, during this process he uses a Sanford Turquoise 4B lead , a soft lead, though when working at home in Atlanta, where

5609-401: The serendipitous nature in which artwork develops when produced with greater spontaneity. He also prefers to use reference only when rendering objects that require a degree of real-life accuracy, such as guns, vehicles, or characters of licensed properties that must resemble actors with whom they are closely identified, as when he illustrated the cover to Star Trek: The Next Generation: Embrace

5688-449: The surface of marker paper tends to get smudgy or oily. When importing art to modify in his computer, he uses Photoshop . Artist Jason Shiga penciled his 2011 graphic novel Empire State: A Love Story (Or Not) with a yellow No. 2 pencil on copy paper, before transferring it with brushed ink via a lightbox. Artist Jonathan Luna uses 14 x 17 Strathmore Bristol board, which he cuts into 11 x 17 pieces on which to draw. He draws using

5767-700: The team at Atlas Comics . His time at Atlas was short-lived, and Broderick soon found himself back at Marvel, working on various titles for their black-and-white line, Curtis Magazines . This led to working on Captain Marvel and then The Micronauts . He drew the Micronauts series from #19 (July 1980) to #34 (Oct. 1981). Writer J. M. DeMatteis and Broderick created the Creature Commandos in Weird War Tales #93 (November 1980). In 1981, he abruptly left Marvel for DC. As he said in

5846-454: The thumbnails and trace them onto illustration board with a non-photo blue pencil , sometimes using a Prismacolor light-blue pencil, because it is not too waxy, and erases easily. When working on the final illustration board, he does so on a large drawing board when in his basement studio, and a lapboard when sitting on his living room couch. After tracing the thumbnails, he will then clarify details with another light-blue pencil, and finalize

5925-512: The thumbnails, she enlarges them and uses them as rudimentary pencils, and "inks" over them in Manga Studio , and later colors the art in Photoshop. One of the advantages Staples sees in working digitally is the ability to dispense with tight pencils in favor of making corrections in an ad hoc manner, as she finds penciling in great detail and drawing such art a second time in ink to be boring. A comic book penciller usually works closely with

6004-462: The writer-artist on the companion title Superman vol. 2 between #34 (Aug. 1989) and #55 (May 1991), before later returning to Adventures of Superman as writer and sometimes as cover artist from issues #480 (July 1991) to #500 (June 1993). Ordway was the writer and primary artist for the story in which Clark Kent proposes to Lois Lane ( Superman vol. 2 #50). While writing for the Superman family of titles, Ordway cowrote such storylines as "Panic in

6083-893: Was a member of the animation department faculty at Tampa's International Academy of Design and Technology . Broderick was elected an Inkwell Awards Ambassador in January 2018. In August 2018, Broderick was elevated to Special Ambassador status. His term of service ended in May 2020. Broderick is known for his detailed, expressive art, and his characters' large eyes. There is some resemblance between Broderick's art and Michael Golden 's late 1970s style. Broderick has acknowledged his admiration of Golden's work. Through his career, Broderick has often teamed with inker Bruce Patterson on such titles as Alpha Flight , Green Lantern , Detective Comics , Legion of Super-Heroes , and Captain Planet and

6162-679: Was awarded the Inkwell Awards Joe Sinnott Hall of Fame Award for "an inking career in American comic books of outstanding accomplishment." Ordway is married to Peggy May Ordway (b. 1959). Penciller In the American comic book industry, the penciller is the first step in rendering the story in visual form, and may require several steps of feedback with the writer. These artists are concerned with layout (positions and vantages on scenes) to showcase steps in

6241-562: Was really just fed up with their attitude." Shooter was no longer at Marvel which offered him work again and Broderick returned, where he worked as the regular penciller first on Alpha Flight and Doom 2099 . In 1995, Broderick turned to advertising full-time, moving to Dallas to lead the in-house creative department at Tracy Locke and Partnership. The company handled packaging, print, and television ads for PepsiCo , Frito-Lay , Pizza Hut , Federal Express , Harrah's Casinos , and Hasbro . This led to design work for DNA Productions on

#135864