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R M GUERA - SCALPED #45 PAGE 20 (UNPUBLISHED FIRST VERSION)

Artists: R.M. GUERA (Penciller) ,  R.M. GUERA (Inker) ,  JASON AARON (Writer)

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R M GUERA - SCALPED #45 PAGE 20 (UNPUBLISHED FIRST VERSION) Comic Art

 

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Artwork Details

Title: R M GUERA - SCALPED #45 PAGE 20 (UNPUBLISHED FIRST VERSION)
Artist: R.M. GUERA (Penciller)
Artist: R.M. GUERA (Inker)
Artist: JASON AARON (Writer)
Media Type: Pen and Ink
Art Type: Prelim
For Sale Status: NFS
Views: 3,672
Likes on CAF:
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Comments: 0
Added to Site: 2/26/2013
Comic Art Archive:

Description

I remember as Guéra explained how he does his art at a Conference that he made in the Barcelona Comic Con. When he started the Scalped series normally he does a pencil drawing very finish that then he inked. But he realized that this way of work delayed much and that it towards losing freshness to the drawing, so he decided to change and make a pencil much less detailed and take risks with the inking. I think that this is not easy to do, and that is not within the reach of any artist. Here in this unpublished piece you can see until point Guéra taking risks. As you can see, is not more than a sketch of what it end up being. Speaking with Guera in his studio, he explaned to me that he decided not to use this piece because composition of the splash page toward that it had too much details of the mountain, and that this could distract the reader of the story.

Recuerdo haber escuchado como Guéra explicaba su forma de trabajar en una conferencia que hizo en el Salón del Cómic de Barcelona. Cuando empezó la serie de Scalped normalmente hacía un dibujo a lápiz muy acabado que luego entintaba. Pero se dió cuenta de que esto lo retrasaba mucho y de que le hacía perder frescura al dibujo, así que decidió cambiar y hacer un lápiz muchísimo menos detallado y tomar riesgos con el entintado. Cosa que no es nada fácil de hacer y que no está al alcance de cualquier artista. Aquí en esta pieza descartada podéis ver hasta que punto Guéra se arriesga ya que como podéis ver, no es más que un boceto de lo que acabara siendo. Hablando con Guéra en su estudio, me explicó que decidió no utilizar esa pieza porque la composición de la splash hacía que hubiera demasiados detalles de la montaña, y que esto podía distraer al lector de la historia.

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