Broken Frontier

Some comic fans hardly realize what goes into producing a seemingly simple 22-page comic book. Often dismissed by the broad public as mere ‘floppies’, the production process behind the monthlies we all hold dear is a stressful one. So stressful, it’s even difficult for creators to focus on much beyond honing their craft. One may be the next Brian Bendis or Jim Lee, but being able to write or draw someone’s socks off, doesn’t mean you know how to sell your game.

That’s where Shon C. Bury comes in. As the man behind talent agency Space Goat Productions, he’s all about putting his creators in the best situation possible, allowing them to focus on what they do best: be creative.

Shon let us have some insights in his way of working here and here and now it is up to his artists to speak! Next up is Jason Metcalf, artist on Eternal Descent !

BROKEN FRONTIER: When did you first get interested in comics?

JASON METCALF: I was 4 or 5 years old when I started noticing comics on the newsstands when my mom would take my brother and I out shopping for groceries.  She'd leave us at the stand while she shopped, and I used to get very upset when we'd go to a store that didn't have any comics!  The old b&w Superman show was on TV Saturday mornings, as well as SuperFriends, Batman & Robin and a few others.  My parents used to get us t-shirts, sweatshirts, bed sheets, toys and other stuff all superhero-related, so I was definitely stimulated toward comics as a kid.

BF: How did you know you wanted to become an artist?

JM: I think I always WAS an artist.  I don't think it's something you become.  Sure you develop your craft as time goes on, but being an artist starts with an innate joy and wonderment of creating.  I think that's something you're just born with - some people are fascinated with nature and buildings and people and creation and have a desire to replicate that, and others could care less.  Couple that with the perseverence and persistence to hone your skills and learn the things you don't know yet to become better and better and you find yourself being labelled an artist.  I think you could even call some home builders and architects 'artists'.
 
I've been drawing since I was 2 or 3 years old and just never stopped - it's always been a part of me.

BF: Who are your artistic influences?

JM: Frank Frazetta was a very early influence, Larry Elmore, John Buscema, Jose Luis Garcia Lopez, Mike Grell were also early.  My first real 'collection' of a series was Buscema's run on Conan and then on The Avengers.  When I really decided to hone my skills however, it was during the 90s and of course Jim Lee, Marc Silvestri, Travis Charest, Whilce Portacio, Todd McFarlane, David Finch, and Michael Turner were in the mix.  I also went through a brief Arthur Adams study period.  Recently, I'm very impressed with Ivan Reis and I just think Mike Deodato's work is dynamite.  He may well be the 'most improved' comic artist coming out of the 90s.

 BF: Is there a specific piece, issue or run you’re most proud of? Like, if you want fans to go check out your work, what should they pick up?

JM:: I do a lot of commissions and prints that I sell at shows.  One of my favorites has been the Thor on the Mountaintop piece for a couple of reasons - 1) Thor's just one of my all time favorite characters to draw, and 2) I did that piece just after having done my first bit of 'pro' work inking over some David Finch Darkness pages along side and under the mentorship of Joe Weems.  I think this peice sort of cemented the style I wanted to pursue for the next few years.  There are a few things I'd change on it however, especially the 'realism' of the cape.  But I do like the rocks a lot, as I referenced some early Frank Frazetta comic pages for inspiration on that texturing.  Another fave piece is the Wonder Woman, Green Lantern, Hawkman piece - again there are some flaws I'd like to fix.  HA!  Now you've got me thinking of remastering some of the older pieces ;).
 
The current issue's work on Eternal Descent is coming out nicely as well.  Check out page 6 on issue 2 - it's one of my favorites.

BF: How has having Shon Bury as your talent agent helped your career?

JM: Shon's been great - he's been able to get me in front of some influential folks time and again and he comes packaged with a HUGE networking presence.  I wouldn't have that without Shon.  It's also been good to be able to have someone to talk shop with who I think has a very realistic view on the industry and is a very straight shooter.

BF: How do you feel you’ve grown as an artist since you first started working in comics?

JM: Well, I've come to appreciate references - photo reference, life reference, art reference, etc.  In my younger years I used to think it a badge of impressiveness to be able to draw anything on the spot without any reference.  But, that didn't necessarily result in my best work.  I had to humble myself and service the final piece of work instead of my pride to produce the best work possible, and really rely on reference materials to get things right.  It's still something I could do better, but even I can now look on my work and see what's made up and a little 'off' compared to the more recent stuff that is more spot on.
 
Also, my blessing and curse is that I'm a detail freak - learning to manage the amount of time it takes to bump things up to where I'm satisfied with whatever I'm working on has been one of my biggest challenges.  I've got a standard I try to hit and have learned to take care of the big things first, then zero in on the detailing.  I used to start a piece and get buried in the detail before the whole page was composed, figures placed, blacks spotted, etc.  That led to problems where I hadn't thought out the entire compostition and I had to wing solutions which took up thought time.  Thumbnailing pages at a bit of a higher level of detail has helped in that regard.  I'm able to take those and know that I have all my bases covered as far as figures, backgrounds, depth, etc and layout the page pretty quickly then dive into the details.  I'll panel out the page first, then grid out any perspective baselines I need, outline figures and backgrounds, spot blacks, then refine, refine, refine.  Honing in on 'my' best woking process was a huge step early on.

BF: What are you working on now, and where can people see your work next?

JM: Right now I'm working on a project called Eternal Descent.  It's a comic produced by the London England band by the same name: Eternal Descent.  Their music coincides with the comic storyline, and we've got guest band appearances in each issue.  You can check out more here:  http://www.myspace.com/eternaldescent  or here:  http://www.eternaldescent.com/splash. It will be published by IDW comics in March 2010.

Space Goat Productions is currently searching for more pencilers to represent. If you think you have what it takes to work for Marvel and DC and are willing to work under exclusive representation, please contact Space Goat Productions.