Earlier this month, we shared the news of Chuck Austen’s return to comics with “Edgeworld,” a comiXology Originals book with Patrick Olliffe, a veteran of DC, Marvel, and more, on art. Today, Olliffe, whose work you may know from books like “Spider-Girl” or “Hawkman,” walks us through the creation of a page from “Edgeworld” #1, available now on comiXology. Olliffe takes us from script to finished page, both visually and through his descriptions of his process. It’s a great read! Thanks to comiXology and Pat for putting this together, and check out the book when you get a chance!
Written by Chuck AustenCover by Patrick Olliffe
Illustrated by Patrick OLliffe
Colored by Lee Liughridge
Lettered and desgined by Jodi Wynne
Edited by Bis Stringer HorneLocal people are disappearing and it’s up to Killian Jess, Magistrate of Rush, and his odd group of friends to find out what’s going on. But they’ve got freak sandstorms, a hostile military government and the aftermath of a planet-wide war to wade through in order to reach the answers they seek.
Edgeworld marks the surprise return to comics of Dreamworks television producer Chuck Austen, the controversial X-Men and Superman writer, partnering with his good friend, long-time Marvel/DC artist Patrick Olliffe.
In animation, Chuck has produced such impressive shows as Dawn of the Croods, She-Ra and the Princesses of Power, and Rocky and Bullwinkle for Dreamworks, and there isn’t a character Patrick hasn’t drawn for Marvel and DC, though he is most well-known for his work on Spider-Girl and Hawkman. Their shared creative vision brings to life a rich and complex world of characters and stories that marks Edgeworld out as a series not to be missed.
Chuck and Patrick are joined on this expectation-busting journey by outstanding colorist Lee Loughridge, talented designer/letterer Jodi Wynne, with edits from Bis Stringer Horne.
Patrick Olliffe: The starting point for me is when I receive an always amazing script from my partner in all things “Edgeworld,” Chuck Austen. I read through it like a fan (which I am!) and get an idea as to how the scenes play out, our beginning, middle and end.
The script breaks down pages and panels but I get to play with storytelling, camera angles, lighting, figure placement and my favorite, the “acting” of each character. I do all of that in the layout stage. Working on 8 1/2x 11 paper laying out 2 comic pages per sheet. I keep the linework loose at this stage to get the storytelling right, not worried about details.
Once the layouts are done I scan them into Photoshop, resize to fit the 11×17 comic boards I work on, convert the line work to a non photo blue, then print in 11×17 copy paper. Now I can concentrate on details in the pencil stage, refining structure, lighting and acting.
Once the penciled page is completed I scan it (again in PS), drop the scan into the template I made for Edgeworld boards, convert the linework to the non photo blue, and print on 11×17 2 ply Bristol board. Now time for inks! I use several different tools, Pitt artist pens, brush pens, Windsor Newton sable brushes (1 and 3), and Dr. Martin’s Black Star ink (matte). Inking is great to add weight to the pencils as well as creating mood and emphasis within the panel.
After the inks are complete, I scan it into Manga Studio for final touches, get it to Lee and Jodi to work their magic and 20-22 pages later, an “Edgeworld” comic!!
