Post by Emmie on Sept 5, 2008 13:32:27 GMT -5
The new reigning artist for Angel: After the Fall, Stephen Mooney, is accepting some questions. We love our Q&A's here at Slayalive, don't we? 
I'll kick it off with the first question:
1.) Emmie: Stephen, who is your favorite character to pencil?
Mooney: ANGEL. Angel, Angel, Angel. Not only is he one of my favourite male characters, he's also very well put together. He has a very symmetrical face, and strong difined bone-structure which lends itself well to caricature. Also Wes, cos I love him so.
Female wise, Cordy. She's just incredibly well formed with strong definite features. Soft, rounded faces with fewer 'landmarks' are much harder to capture well.
2.) wenxina: Was just wondering how restricted you were in your art style, as in were there certain limitations put down in terms of having to keep to the continuity of the visual landscapes, or were you free to do your own thing? I mean, sewer tentacles are now a staple, but anything more bizarre that we're gonna get?
Mooney: I can't speak for Franco or Nick, but I've been given pretty free reign design-wise. I try to refer as much as possible to the design ethic of the actual show when composing shots and locations. Obviously as I've come in pretty late in the game I also have to refer a lot to what the guys have established visually previously to me. But if I have a mood I'm shooting for its that of the actual show, I love that dark, somber tone that Joss et al established early on and want to continue it in my work. I want the readers to feel like they're watching an episode in comicbook form. And everybody loves tentacles.
3.) Wyndam: How did you originally get involved with the Angel: Interaction contest?
Mooney: I begged Chris Ryall(IDW Head Cheese) to let me get involved in some capacity. A continuation of my favourite show in comicbook form co-written by Joss Whedon? Yes please.
When the Interaction contest came up I was working on a different book with IDW, and Chris knew I'd cry if he gave the gig to somebody else.
4.) hitnrun017: Since Emmie asked who's your FAVORITE character to pencil is, I think it's safe to ask who's your LEAST favorite character to pencil?
Mooney: Hmmm. I love all these characters, but some are definitely harder to draw than others... if I had to pick it'd be one've the girls. Nina is hard to do justice to for some reason.
5.) skytteflickan88:
- Which one of our [Angel Interaction Cover] concepts did you find most challenging to draw?
Mooney: Heh. There's a big splash image in issue 13 which was a killer, took like 3 days. You'll know it when you see it.
Oh wait, you mean which Slayalive cover was most challenging? Um...
I find the best covers we did were based on the most creative and dramatic suggestions. The cover for issue 7(wes standing over his own corpse) was pretty tricky as I had to figure out the composition so that the 'camera' is level at dead-wes' face on the floor, and then shows all of ghost-wes' figure in persective above it.
I quite like that cover, one of the rare pieces of my own that I'm quite happy with.
- Can you give us a little bio (how did you get into drawing, were you a talent from the starts, did you struggle? etcetc) - how did your drawing career start?
Mooney: With a splutter...
Here's some info I copied and pasted from a previous interview, sorry its so long-winded:
I started out in college here in Dublin studying Classical Animation. I had always drawn a lot as a kid, and was a big fan of U.S. comics since around the age of 12. So since there was no dedicated comics art course over here, and there was no way in hell I could afford the Joe Kubert correspondence course, I decided that animation was probably the next best thing, and at least that way I would get to draw all day.
It was a really beneficial course as it turned out, as there were classes purely geared toward storytelling, layout and design, and of course lots of life drawing, or human figure drawing. This was probably the best class to take in terms of studying and learning how to draw the human body. That and you got to look at naked girls all day.
I graduated with my animation degree in 2000, and started to dabble in freelance storyboarding. I was never the best animator in the class, but I could lay out a story sequence pretty well, so I tended to focus on that aspect. I did storyboarding and concept work for various companies over here (Coke, Guinness, etc.), and then in 2003 joined a fledgling animation company here in Dublin called Boulder Media as a layout artist. I drew key BGs for American shows like FOSTER'S HOME FOR IMAGINARY FRIENDS. I also worked on a couple of shows for the BBC.
While working with Boulder I started to really think about trying to make a go of it in comics, as that was my real passion. Luckily for me a local owner of a comics store (Sub City Comics) in Dublin was about to start up the first real Irish comics company, Atomic Diner. The flagship book was to be a comic called FREAKSHOW, about a supernatural private-eye firm set in '50s Los Angeles. So the store set up an open call for artists to pitch their portfolios and turned out I got the gig. I drew the first few issues of the book every evening after work for 5 or 6 hours, and then when it became clear that the series had some actual legs I jumped ship at Boulder to try and make a go of comics full-time.
I was just coming off a 12-issue run on FREAKSHOW, and the editor wanted me to sign a new contract for a further 12 issues. At the time I was more keen to dip my toe in the American market, as that's where all my favorite work was being produced. So I put a sample package together and e-mailed it to a few different editors that I thought might be interested. Chris Ryall (Publisher & Editor-in-Chief for IDW Comics) was one such editor, and he answered, like, the next day. I've since discovered that Chris actually sits in bed with his Blackberry at the ready to answer any and all e-mails no matter what time, day or night. I'm ... not sure why. He obviously doesn't enjoy sleep as much as the rest of us do. Anyhoo, Chris happened to be looking for an artist for their latest CSI book, and thought I'd be a good fit. Also, he couldn't have been more cordial or professional, and that works for me. So I jumped aboard and haven't looked back since. That was about three years ago now and I've been here pretty much ever since then.
And that's my heroic and boring story.
- And; are you okay with me using the pics you have on that site? I'm thinking of using a few in a banner.
Mooney: Heck yeah man, work away.
6.) Brian Lynch: Mooney, what are you feelings about Nuns?
Mooney: Why Brian, I'm so glad you asked.
I love nuns, but I couldn't eat a whole one.
That said, I love some nuns more than others... a certain bad mother in particular...
Now Angelus, he LOVES the nuns...
7.) henz: Was Mooney as unfortunate a surname as I imagine to be while you were growing up?
Mooney: Nah, not so bad. Over here in Ireland it doesn't really carry any of the meanings it does in the states, and besides, I was always very proud that the police officer in the original superman movie was called Officer Mooney! Got me many kudos in the playground
8.) Emmie:
-If Angel is your favorite character to draw, I've gotta say that I think he's also your best character piece. I was floored by some of the art of Angel in Issue 12. Just amazing. Cordy also looked amazing in this issue. Speaking of Cordy, I noticed how her style (hair, clothing) most closely resembled her look from AtS season 1 and early season 2. Which makes me wonder - How do you decide how you want the characters to look?
Mooney: Its simple really, I think of my ideal version of the characters throughout the series and try and represent them that way. In Cordy's case, I felt like this was the truest visual representation of Cordy back when she really WAS Cordy.
That and she just looked so beautiful with her hair like that in my opinion. Just classic Cordelia Chase.
- And since you're a big fan of the show, what's your favorite episode of ANGEL? Funniest moment? Most tragic scene? Most badass fight scene?
Mooney: So many moments I loved... Five by Five and Sanctuary in season one... I Will Remember You(big Buff/Angel fan)... so many Doyle moments(Glenn Quinn and Doyle were Dubliners like me), Hero is the episode that's come closest to making me cry, next to You're Welcome... Spin The Bottle, Smile Time... so many. Not Fade Away.
Oh, the fight scene between Angel, Gunn Wes and the Beast toward the end of season 4 where Wes gets REALLY bad ass with the pistols and the shotgun... class
9.) kingofcretins: Stephen -- enjoy your work on "After the Fall" very much. Are there any kinds of scenes you look forward to working on more or less than others? Such as romance and kissing, or big set piece fight scenes?
Mooney: Thanks King! I love the intimate character moments, like the delicate scenes between Angel and Cordy. Stuff that just feels like the essence of the show. I love being able to 'direct' the characters and make them 'act'. Making Angel and Cordy hold hands in that splash page was important to me, that kinda stuff.
That and the big-ass fight scenes, they're the most fun to choreograph! Haven't gotten to draw any kissing as yet, but there's still time...
10.) hitnrun017: You say you begged Chris Ryall to be apart of After the Fall in some way, so how did it feel that you got to pencil the Connor/Kate story and then become the MAIN penciller for a few issues?
Mooney: Man, it felt, and still feels fantastic. This story is huge to me, the actual no-foolin' continuation of the show, written by people as skilled as the best writers from the show. I'd have been really disappointed if I hadn't have been able to contribute, and believe me when I say that I'm working my ass off to do Brian's scripts justice and deliver the best damn product possible.
11.) brandonr: What is your creative process like when you're drawing? Do you sit and think about what's going to be on the page for a while, then draw it, or do you just let the pencils flow, and see what happens, then take the better stuff and make a composite image to form the final panel we see? Make good with the splainy!
Mooney: It can differ really, but on the whole where working on a monthly book like Angel you've really got to get things moving. I'd be lying if I said I took a lot of time to consider the many ways each page could be executed. Usually I'll get the script from Brian, and go through the five pages due by the end of that week. I'll draw a thumbnail version of the page right onto the script, usually just going with my gut as to the storytelling. Sometimes if a sequence isn't reading correctly right off the bat I'll go back and do a second or even third thumbnail to try and figure the scene out. But to be honest, 90% of the time I go with that first composition that I put down on the script, as I find my initial stab at something tends to be the best. I can complicate things if I sit back and overthink it. It depends a lot on the writer too. Some people tend to be more specific with their panel descriptions, and know exactly what kind of shots they want. In this case its more about trying to fit 5 or 6 different characters in the correct speaking order into any given panel, which can be very tough. A 'team' book like Angel is a lot more complicated in this respect than a single character book like Batman or whomever.
So basically, yeah, I do pretty much hit the page running and go with it, once I'm happy with that the storytelling and pacing are working in the initial sketch or thumbnail. Does that explain anything? I'm not sure I answered what you were asking...
I'll kick it off with the first question:
1.) Emmie: Stephen, who is your favorite character to pencil?
Mooney: ANGEL. Angel, Angel, Angel. Not only is he one of my favourite male characters, he's also very well put together. He has a very symmetrical face, and strong difined bone-structure which lends itself well to caricature. Also Wes, cos I love him so.
Female wise, Cordy. She's just incredibly well formed with strong definite features. Soft, rounded faces with fewer 'landmarks' are much harder to capture well.
2.) wenxina: Was just wondering how restricted you were in your art style, as in were there certain limitations put down in terms of having to keep to the continuity of the visual landscapes, or were you free to do your own thing? I mean, sewer tentacles are now a staple, but anything more bizarre that we're gonna get?
Mooney: I can't speak for Franco or Nick, but I've been given pretty free reign design-wise. I try to refer as much as possible to the design ethic of the actual show when composing shots and locations. Obviously as I've come in pretty late in the game I also have to refer a lot to what the guys have established visually previously to me. But if I have a mood I'm shooting for its that of the actual show, I love that dark, somber tone that Joss et al established early on and want to continue it in my work. I want the readers to feel like they're watching an episode in comicbook form. And everybody loves tentacles.
3.) Wyndam: How did you originally get involved with the Angel: Interaction contest?
Mooney: I begged Chris Ryall(IDW Head Cheese) to let me get involved in some capacity. A continuation of my favourite show in comicbook form co-written by Joss Whedon? Yes please.
When the Interaction contest came up I was working on a different book with IDW, and Chris knew I'd cry if he gave the gig to somebody else.
4.) hitnrun017: Since Emmie asked who's your FAVORITE character to pencil is, I think it's safe to ask who's your LEAST favorite character to pencil?
Mooney: Hmmm. I love all these characters, but some are definitely harder to draw than others... if I had to pick it'd be one've the girls. Nina is hard to do justice to for some reason.
5.) skytteflickan88:
- Which one of our [Angel Interaction Cover] concepts did you find most challenging to draw?
Mooney: Heh. There's a big splash image in issue 13 which was a killer, took like 3 days. You'll know it when you see it.
Oh wait, you mean which Slayalive cover was most challenging? Um...
I find the best covers we did were based on the most creative and dramatic suggestions. The cover for issue 7(wes standing over his own corpse) was pretty tricky as I had to figure out the composition so that the 'camera' is level at dead-wes' face on the floor, and then shows all of ghost-wes' figure in persective above it.
I quite like that cover, one of the rare pieces of my own that I'm quite happy with.
- Can you give us a little bio (how did you get into drawing, were you a talent from the starts, did you struggle? etcetc) - how did your drawing career start?
Mooney: With a splutter...
Here's some info I copied and pasted from a previous interview, sorry its so long-winded:
I started out in college here in Dublin studying Classical Animation. I had always drawn a lot as a kid, and was a big fan of U.S. comics since around the age of 12. So since there was no dedicated comics art course over here, and there was no way in hell I could afford the Joe Kubert correspondence course, I decided that animation was probably the next best thing, and at least that way I would get to draw all day.
It was a really beneficial course as it turned out, as there were classes purely geared toward storytelling, layout and design, and of course lots of life drawing, or human figure drawing. This was probably the best class to take in terms of studying and learning how to draw the human body. That and you got to look at naked girls all day.
I graduated with my animation degree in 2000, and started to dabble in freelance storyboarding. I was never the best animator in the class, but I could lay out a story sequence pretty well, so I tended to focus on that aspect. I did storyboarding and concept work for various companies over here (Coke, Guinness, etc.), and then in 2003 joined a fledgling animation company here in Dublin called Boulder Media as a layout artist. I drew key BGs for American shows like FOSTER'S HOME FOR IMAGINARY FRIENDS. I also worked on a couple of shows for the BBC.
While working with Boulder I started to really think about trying to make a go of it in comics, as that was my real passion. Luckily for me a local owner of a comics store (Sub City Comics) in Dublin was about to start up the first real Irish comics company, Atomic Diner. The flagship book was to be a comic called FREAKSHOW, about a supernatural private-eye firm set in '50s Los Angeles. So the store set up an open call for artists to pitch their portfolios and turned out I got the gig. I drew the first few issues of the book every evening after work for 5 or 6 hours, and then when it became clear that the series had some actual legs I jumped ship at Boulder to try and make a go of comics full-time.
I was just coming off a 12-issue run on FREAKSHOW, and the editor wanted me to sign a new contract for a further 12 issues. At the time I was more keen to dip my toe in the American market, as that's where all my favorite work was being produced. So I put a sample package together and e-mailed it to a few different editors that I thought might be interested. Chris Ryall (Publisher & Editor-in-Chief for IDW Comics) was one such editor, and he answered, like, the next day. I've since discovered that Chris actually sits in bed with his Blackberry at the ready to answer any and all e-mails no matter what time, day or night. I'm ... not sure why. He obviously doesn't enjoy sleep as much as the rest of us do. Anyhoo, Chris happened to be looking for an artist for their latest CSI book, and thought I'd be a good fit. Also, he couldn't have been more cordial or professional, and that works for me. So I jumped aboard and haven't looked back since. That was about three years ago now and I've been here pretty much ever since then.
And that's my heroic and boring story.
- And; are you okay with me using the pics you have on that site? I'm thinking of using a few in a banner.
Mooney: Heck yeah man, work away.
6.) Brian Lynch: Mooney, what are you feelings about Nuns?
Mooney: Why Brian, I'm so glad you asked.
I love nuns, but I couldn't eat a whole one.
That said, I love some nuns more than others... a certain bad mother in particular...
Now Angelus, he LOVES the nuns...
7.) henz: Was Mooney as unfortunate a surname as I imagine to be while you were growing up?
Mooney: Nah, not so bad. Over here in Ireland it doesn't really carry any of the meanings it does in the states, and besides, I was always very proud that the police officer in the original superman movie was called Officer Mooney! Got me many kudos in the playground
8.) Emmie:
-If Angel is your favorite character to draw, I've gotta say that I think he's also your best character piece. I was floored by some of the art of Angel in Issue 12. Just amazing. Cordy also looked amazing in this issue. Speaking of Cordy, I noticed how her style (hair, clothing) most closely resembled her look from AtS season 1 and early season 2. Which makes me wonder - How do you decide how you want the characters to look?
Mooney: Its simple really, I think of my ideal version of the characters throughout the series and try and represent them that way. In Cordy's case, I felt like this was the truest visual representation of Cordy back when she really WAS Cordy.
That and she just looked so beautiful with her hair like that in my opinion. Just classic Cordelia Chase.
- And since you're a big fan of the show, what's your favorite episode of ANGEL? Funniest moment? Most tragic scene? Most badass fight scene?
Mooney: So many moments I loved... Five by Five and Sanctuary in season one... I Will Remember You(big Buff/Angel fan)... so many Doyle moments(Glenn Quinn and Doyle were Dubliners like me), Hero is the episode that's come closest to making me cry, next to You're Welcome... Spin The Bottle, Smile Time... so many. Not Fade Away.
Oh, the fight scene between Angel, Gunn Wes and the Beast toward the end of season 4 where Wes gets REALLY bad ass with the pistols and the shotgun... class
9.) kingofcretins: Stephen -- enjoy your work on "After the Fall" very much. Are there any kinds of scenes you look forward to working on more or less than others? Such as romance and kissing, or big set piece fight scenes?
Mooney: Thanks King! I love the intimate character moments, like the delicate scenes between Angel and Cordy. Stuff that just feels like the essence of the show. I love being able to 'direct' the characters and make them 'act'. Making Angel and Cordy hold hands in that splash page was important to me, that kinda stuff.
That and the big-ass fight scenes, they're the most fun to choreograph! Haven't gotten to draw any kissing as yet, but there's still time...
10.) hitnrun017: You say you begged Chris Ryall to be apart of After the Fall in some way, so how did it feel that you got to pencil the Connor/Kate story and then become the MAIN penciller for a few issues?
Mooney: Man, it felt, and still feels fantastic. This story is huge to me, the actual no-foolin' continuation of the show, written by people as skilled as the best writers from the show. I'd have been really disappointed if I hadn't have been able to contribute, and believe me when I say that I'm working my ass off to do Brian's scripts justice and deliver the best damn product possible.
11.) brandonr: What is your creative process like when you're drawing? Do you sit and think about what's going to be on the page for a while, then draw it, or do you just let the pencils flow, and see what happens, then take the better stuff and make a composite image to form the final panel we see? Make good with the splainy!
Mooney: It can differ really, but on the whole where working on a monthly book like Angel you've really got to get things moving. I'd be lying if I said I took a lot of time to consider the many ways each page could be executed. Usually I'll get the script from Brian, and go through the five pages due by the end of that week. I'll draw a thumbnail version of the page right onto the script, usually just going with my gut as to the storytelling. Sometimes if a sequence isn't reading correctly right off the bat I'll go back and do a second or even third thumbnail to try and figure the scene out. But to be honest, 90% of the time I go with that first composition that I put down on the script, as I find my initial stab at something tends to be the best. I can complicate things if I sit back and overthink it. It depends a lot on the writer too. Some people tend to be more specific with their panel descriptions, and know exactly what kind of shots they want. In this case its more about trying to fit 5 or 6 different characters in the correct speaking order into any given panel, which can be very tough. A 'team' book like Angel is a lot more complicated in this respect than a single character book like Batman or whomever.
So basically, yeah, I do pretty much hit the page running and go with it, once I'm happy with that the storytelling and pacing are working in the initial sketch or thumbnail. Does that explain anything? I'm not sure I answered what you were asking...
