Dear friends and dear friends of Bergomix, here is the second exclusive interview made especially for you! Happy reading!
E ' a real pleasure to have with us Mirco Pierfederici. After working on Jonathan Steele six recently come to Marvel, working first on the covers and then also on the interior, not least those comic book adaptation of the film Tron.
Can you reveal where you get your inspiration and what are your techniques?
E 'is necessary to mention that covers the interior. When I was commissioned a cover, I have always an indication of the plot or at least one or more lines is very simple when I made a request. For example for the cover of Captain America: Theatre of War, I received a full page of e-mail with a detailed description of the scene where Captain America jumped from a castle presided over by the Nazis intent to shoot him. Other times I have more creative freedom, as has happened for example with the cover of X-Men Legacy portraying Gambit, where I was called for a cool pose.
The biggest problem occurs when you are faced with forty years of covers prior to your work. Basically, the first approach is to discard a priori the most famous, not least because some are so much revenue in the minds of readers or the current culture to the point that we are on the shirts and gadgets of all kinds. Normally what you are trying to do two things. If it's a cover, you try an idea that strikes even attempting to describe the plot of the register. Sometimes there is unfortunately not possible, because when the covers were commissioned, it comes months before the register, so there is not just the story and you go on these images "only" compelling. There he focuses on technique, we say: I do a pretty captivating image, a pose pussy, and I try to do well with that. At other times just trying to tell something more, just as the aforementioned cover of Cap, which is perhaps where the work was a little heavier: there was a specific request, a historic states, the Second World War II, was Captain America who was thrown from the castle with a sunrise behind the shooting and the Nazis. A lot of things. There is a bit 'try hard to invent, maybe has a lot of ideas for the cover pussies, but then maybe you realize that the Nazi shooting is microscopic in size.
Once you have found the idea, or at least what I think might be appealing way to realization. The technical implementation is actually very simple. I do not do nothing but make this first sketch, in reality they are smaller sketches. Chose the one that will be realized, all I do is expand on A3, and from there to go and finish more and more with a pencil. So what I do then is to build a half-tone, basically done with the airbrush and watercolor, which is a mixed media to get stained. This is why I had the original black and white, I make the first practical point of view! If Corrections ask me I already I've got a color change and repeating another color, then threatens to ruin the original and create only chaos. So, using the virtual program Photoshop this thing is actually a lot easier. For the interior there is a difference, because this technique it is difficult to use, just for a fact that requires more time. A cover on average, from when I start to bring sketches when it's over, I work 3:00 to 4:00 days. For a table of the average time a page is a table over a day in pencil and ink colors in one day and then the next. I speak clearly to release 22 tablets per month, or as in the last case with Tron, I'm 32. So there is yet a further delay. Internally at the technical level is easier, sometimes things are done directly in digital and sometimes just simple pencil and ink.
To make the adaptation of the movie Tron, you've got to see the film? What is?
Adaptation of Tron, in reality is nothing but the prequel to the movie Tron Legacy coming soon in theaters. In practice, it is the first film adaptation, however, with the integrated parts that are to be attached to various points of the plot that basically speaks a game programmer absorbed by a computer in the virtual world. I should also note the most careful review on a visual level of some characters, if we want a rejuvenation. We must consider that the starting material is still a film of the 80s, became a true cult film work as the first to introduce computer graphics with players taken at depths of non-existent.
Some might think it's a job easy enough to repaint the frame where, but in reality it is not, as they are two languages \u200b\u200bthat look like they are very different : sometimes it serves as well on that video does not work in a comic book and vice versa.
Mirco Thanks for being with us!
Stay tuned!
Leonardo Monzio Compagnoni - Artistic Director of Bergomix
infobergomix@excite.it
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