Muppet Peter Pan

[Amy]

D'oh!
I'm so sorry about that, James. Slip of the keyboard!
Got caught up in all the Daves involved

 

[Leeway]

No problem. It's like Dave-A-Palooza over at Boom!

 

[minor muppetz]

There's an interview with Grace Randolph at Tough Pigs... She mentions that she'd originally planned to have Tiger Lilly in these stories... I wonder who would have played her (Annie Sue? Spamela?). Interestingly, I never though about that character being included... I wondered if mermaids would but not her.

 

[Drtooth]

I think it would have been an originally designed character... a younger, female Swedish Chef.

And here I was, thinking the Electric Mayhem was supposed to be the Indians.

 

[Drtooth]

SO, am I the only one who got the last issue?

I really did want Robin Hood to go on a bit longer, mainly because the comic was so chock full of expo that there was more lines of dialogue than in one of those manga about card game or monster fighting where they explain every move for 3 chapters...

But Peter Pan, when it ended, I felt satisfied and wanting more at the same time. The ending, the entire 4th issue was a huge twist. And you can tell there was some more that just wouldn't have fit, but it didn't really need it and it smoothly flowed into a great finish.

And I say what I've been saying the past 3 issues... Both the artist and writer are Piggy fans. She has the BEST lines in the entire mini-series. Not to say that the other characters weren't well written... there was so much muppet voice in here you can actually hear the voices by reading the dialogue alone. And looking at the delightfully Disney-esque art, it looked like it was an animated feature. I only wish there were more muppets so I could see Amy's spin on other characters.

 

[minor muppetz]

I only wish there were more muppets so I could see Amy's spin on other characters.

I haven't seen the comics, but I agree. It's puzzling that there were only a few lost boys, and there should have been more monsters as the pirates.

 

[Amy]

I haven't seen the comics, but I agree. It's puzzling that there were only a few lost boys, and there should have been more monsters as the pirates.

Sorry, there are only so many hours in the day and so many dollars in my page rate ;p.
Crowd scenes are fine for a one-off illustration but are a major headache when there are 22 pages to be done.
Most comics are produced under VERY short schedules, there just isn't time or space to put in tons of B characters as cameos.

 

[frogboy4]

Sorry, there are only so many hours in the day and so many dollars in my page rate ;p.
Crowd scenes are fine for a one-off illustration but are a major headache when there are 22 pages to be done.
Most comics are produced under VERY short schedules, there just isn't time or space to put in tons of B characters as cameos.

If you don't mind my asking, how long does an average panel take to draw? I'm not a graphic novel artist, but know it must be a challenge filling a book with stellar art in a time crunch. I know it varries, but on average, how long does it take for the final uncolored ink?

 

[Amy]

If you don't mind my asking, how long does an average panel take to draw? I'm not a graphic novel artist, but know it must be a challenge filling a book with stellar art in a time crunch. I know it varries, but on average, how long does it take for the final uncolored ink?

It totally depends what's going on on the whole page.
A page with lots of panels or large elaborate scenes will take longer to plan and draw than a page of, say, 3 panels of just talking heads.

In an absolute pinch, I was producing entire issues (pencils to colour) in about 4-5 weeks, but that is NOT a typical example and my brain REALLY hurt by the time it was done

A more reasonable example would be the Muppet Show I'm drawing right now for Roger. I'm only pencilling and inking this story and it takes me about 3 weeks to do 22 pages. Again, we're on an unexpectedly tight schedule and I have to leave time for the colorist and letterer to do their part.

But ultimately, don't take my examples as typical, as I have a rep for working fast.
Ask Roger or Dave A and they might give you totally different timeframes. Everyone's comfort zone is different.

 

[Aaron Sparrow]

Hi guys,

I love that you guys are so passionate about our Muppets artists; I personally think we've got the most talented people in the industry doing these titles!

If I may, however, I'd like to defend Armand's art on MUPPET ROBIN HOOD with a little peek behind the production curtain. It was Boom's first Muppet Fairy Tale, and early on in our collaboration with the Muppet Team, so there was a lot of confusion on that book. Armand was given direction to make his style more like Roger's (no mean feat, as brilliant as Roger is) and the book was extremely behind schedule, so he really had to modify his style with no time to practice it. I'm not sure he ever really had time to get comfortable with it; but I think he came through admirably considering the incredible pressures he was under.

-A