Home News March 2006 6th
|Responding to a Kabuki: The Alchemy #6 Review|
|After reading 13 Minutes' review of Kabuki: The Alchemy #6, David Mack noted:|
||[ spoilers follow ]
While a GREAT and flattering review by any standard, I wanted to use this as an opportunity to clarify the mention of the reviewer’s only quibble.
I never mentioned the phrase "War on Terror". The mention of the MC’s Free Energy Machine and mention of energy use was only mentioned when she is introducing herself in this issue and giving a bit of a re-cap of her history and why she was in Control Corps. It was completely consistent with her history and the introduction of her in Metamorphosis and why she was in Control Corps in the first place.
I did hear a few people mention something to the effect of this issue being "political". But the mention of the outside world government and politics in this issue by MC and Akemi is just consistent with the beginning foundation of Kabuki in the first volume, Circle of Blood, when that entire series took place in the political world, in which it dealt with the government manipulation of the media, propaganda, inside deals with criminal syndicates, media as assassins and media tools of the government. That was really the premise of the Noh. The whole point was that the Noh was a metaphor for (and literally in the story) media as tool of the government, media as celebrity, media as character assassination to opponents and nationalism twisted.
That was the media/government/power world that began in the series, so when Kabuki hears news from the outside world from Akemi and MC who are involved in that, it is just consistent with that world and the history of their characters and motivation of these characters.
Just a clarification. Any feedback from the reviewer or readers is welcome.
|David Mack Shares Production Techniques|
|When asked how he scans pages with 3D objects, David Mack explained:|
Truth is, they are all scanned on a page on a flatbed. The majority of the 3D objects are just taped to the actual page that I'm working on. Coins, buttons, envelopes, clock parts, bug wings, wood pieces, money, etc. Most of this is just put right on the board.
No Photoshop at all. And the whole mess is laid on the scanner and put on disk and sent to the printer. And some nice shadows fall on it from the space of the 3D items on the scanner.
Something 3D that is much bigger, like that sparkplug train engine, I put in on a color copier first. Just right on the copy top and copied it. Then I cut the copy and put that on the page.
I did this with the bug page in #1, too. I just went to Kinko's and arranged all my bugs and bug parts on the color copier and made a copy. And then I put a frame on the copy of bug parts and that was the page. Then I just put my lettering on it.
I just put all the lettering right on the actual pages. Handwritten or printed out. I just write on it, or tape the words right onto the page.
I really don't have any fixed method. I just make it up as I go. Each page is a unique problem solving challenge.
Originally Posted by dimeshop:
Yes. For that I took photos of bones and skeletons. And then fit them together to make the skeleton of the dragon. Gluing the photo pieces to the page in that form. And then painted around it so it looks like the dragon skeleton is hovering in the air.
Is any of it photos first? For example: how did you do that skeleton of the dragon in the Dreams collection?
There is always a certain change from the original in any kind of reproduction. But generally it is pretty accurate. But it gets adjusted a little bit if it scans too light or something.
And I get proofs first from Marvel. And then again from the printer. They are both great to work with.
Usually everything is fine on the proofs. Sometimes the cutting cuts in a little too close. That is usually the only thing that needs tweaking from the proofs. I might ask for it to be reduced a couple more percentage points so something is not cut out.
There is always some amount of the page that is cut from the edges frome the original to the printing. I try to consider that when doing it. And the printing at Marvel has been great.
But it is always very different fromt he originals. Like the difference between a map and the real geography. Or a photo of something and the actual thing.
The originals are very 3D and have a lot of texture and subtle changes in colors, etc.
I sometimes wish every issue came out as a gallery show where people would look at them in full-size up close from the original.
|David Mack Mentioned in Tamora Pierce Interview|
|From ComicBookResources.com's interview with White Tiger miniseries writer Tamora Pierce:|
||Writing "White Tiger" has many perks for Pierce. Not only does she get to write a strong, kick-ass Marvel heroine, but she gets to work with artist David Mack who is doing character designs on the book and provides the covers for the mini-series. "As a writer, I'm in awe of artists-- I can't even draw," Pierce said. "To watch someone like Mack work, and turn ideas into images, is one of the main reasons I always wanted to do comics and one of the reasons I always loved comics. Tim's a little more cool about words-into-images, coming from an early film background, but he's still pretty jacked about this process, too.
"Mack's strong, painterly approach really grabs me in the gut: he knows how to create strong visuals that jump out of the array on a magazine stand and shriek, 'What are you looking at those for? Look at me!'" Pierce continued. "His covers will tell the world that Angela's White Tiger is significantly different from any other White Tiger."
|Dash Shaw's Goddess Head Recommended|
|From David Mack:|
||Read Dash Shaw's "Goddess Head" - it's great!
Dash gave me his new book in NYC and it is his best.
I think a lot of you would really appreciate this book and this creator. I know Goddard would. But I think others as well should take a look at this guy's stuff if they have not seen it before.
Have you seen his previous book, "Love Eats Brains"? That is very clever too, but I think this one shows an even more mature creator.
Clever, and raw and spontaneious but still well thought out and organic. A true work of art.