Interview with Up and Coming Superstar....
|
|
For those of you who have been following the ICBR closely lately, you have probably figured out that we, especially the owner Mark Willis, have been huge fans of the Kros: Hallowed Ground Kickstarter campaign. This project included the work of both John Ostrander and Tom Mandrake. A part of the creative team for the Kros Kickstarter is the young and talented Sian Mandrake, the daughter of Tom Mandrake and Jan Duursema. Tom and Jan have been comic book icons for years and we are happy to see that their passion for the industry has been passed on to the next generation. Sian’s comic book portfolio is quickly growing and her work is really outstanding. Sian has been able to get a few indie books under her belt now working on titles such as IDW’s X-Files Season 10 as well as Storm King Comics’ John Carpenter’s Asylum. Most recently, Sian’s ability has garnished her the opportunity to do some work with DC on the Convergence: Suicide Squad series.
The ICBR had the opportunity to interview this rising star about her background, her time at the Kubert School, her current project as well as her thoughts on the industry as a whole. We had a whole lot of questions for Sian and were very happy that she took the time to answer them all so that our readers could get to know her better….
The ICBR had the opportunity to interview this rising star about her background, her time at the Kubert School, her current project as well as her thoughts on the industry as a whole. We had a whole lot of questions for Sian and were very happy that she took the time to answer them all so that our readers could get to know her better….
Background
Independent Comic Book Review: You have quite the pedigree when it comes to the comic book industry. Were you always destined to be involved in the comic book industry?
Sian Mandrake: Haha. Well I don't know about comics specifically, but I always knew I was going to do something in the art field. I was quite literally raised in the studio. When I was little, 2-3 I had my own table and play area in between my parents’ studio areas. That's the first thing I remember doing is sitting at my little plastic art table and wondering how to make things pop out in perspective-not that I knew what the was at the time! I really wanted to be a painter as a teen though, now I just want to draw, paint and tell stories--any form will do.
Sian Mandrake: Haha. Well I don't know about comics specifically, but I always knew I was going to do something in the art field. I was quite literally raised in the studio. When I was little, 2-3 I had my own table and play area in between my parents’ studio areas. That's the first thing I remember doing is sitting at my little plastic art table and wondering how to make things pop out in perspective-not that I knew what the was at the time! I really wanted to be a painter as a teen though, now I just want to draw, paint and tell stories--any form will do.
ICBR: When did you first figure out that you wanted to be part of the comic book industry yourself?
SM: I guess I really have always been a part of the industry in some little way or another. To being a little kid and asking my Mom and John Ostrander to not kill off the character of Aayla Secura early on in their Star Wars Republic run (you're welcome!) to working my first job flatting panels for my Dad for “Zombie Prom”. The house was a studio so I guess I just kind of fell into it. Although they never forced me, I was just always fascinated with the process. I wasn't sure what I wanted to do really, except draw and tell stories. Comics are a perfect way to do both those things. Although I really have a passion for painting and illustration as well. I'm not picky, I just love drawing!
SM: I guess I really have always been a part of the industry in some little way or another. To being a little kid and asking my Mom and John Ostrander to not kill off the character of Aayla Secura early on in their Star Wars Republic run (you're welcome!) to working my first job flatting panels for my Dad for “Zombie Prom”. The house was a studio so I guess I just kind of fell into it. Although they never forced me, I was just always fascinated with the process. I wasn't sure what I wanted to do really, except draw and tell stories. Comics are a perfect way to do both those things. Although I really have a passion for painting and illustration as well. I'm not picky, I just love drawing!
ICBR: I know that you’ve done a lot of work with your father in the past as well as on the Kros Kickstarter. What’s has it been like to be working with your father at DC as well as on this new graphic novel, Kros?
SM: It's a ton of fun! They are both exciting in different ways. Convergence was exciting because it was my first DC project. I also got to work with Marie Javins who was my editor and she was awesome! She taught me so much, she is really an amazing person!
Kros is different because it's a creator-owned project between John and my Dad and that's seriously awesome in its own way! I was a teen when my dad was first doing sketches of Kros and to see this become a reality is one of those really cool moments in life. And then to actually get to be part of the process is something I never would have guessed would happen if you'd asked me 10 years ago!
Also, the colors needed for each project are extremely different. DC's Convergence had a lot more of a traditional comic color scheme compared to Kros, which will have an extremely limited palette. The styles are really on opposite ends of the spectrum.
SM: It's a ton of fun! They are both exciting in different ways. Convergence was exciting because it was my first DC project. I also got to work with Marie Javins who was my editor and she was awesome! She taught me so much, she is really an amazing person!
Kros is different because it's a creator-owned project between John and my Dad and that's seriously awesome in its own way! I was a teen when my dad was first doing sketches of Kros and to see this become a reality is one of those really cool moments in life. And then to actually get to be part of the process is something I never would have guessed would happen if you'd asked me 10 years ago!
Also, the colors needed for each project are extremely different. DC's Convergence had a lot more of a traditional comic color scheme compared to Kros, which will have an extremely limited palette. The styles are really on opposite ends of the spectrum.
ICBR: I have friends that always feel as if they are in their parents shadow and it is hard to make a name for themselves. Do you think that your family connection is going to be a disadvantage for you as you get started in your career?
SM: Not at all. If anything I see it as a positive and I am very grateful to them for not only being my parents and helping me to be the person I am today, but also for being willing to instruct me in drawing and be honest with their critiques. To have all that is a really rare gift.
I am definitely confident that I am my own person, I have my own style and do my own thing. It's cool when people ask if I'm related to Tom and Jan, because I am and I'm proud to have such awesome people as parents. Besides that I don't worry about it, I just figure people will judge my work based upon looking at it.
SM: Not at all. If anything I see it as a positive and I am very grateful to them for not only being my parents and helping me to be the person I am today, but also for being willing to instruct me in drawing and be honest with their critiques. To have all that is a really rare gift.
I am definitely confident that I am my own person, I have my own style and do my own thing. It's cool when people ask if I'm related to Tom and Jan, because I am and I'm proud to have such awesome people as parents. Besides that I don't worry about it, I just figure people will judge my work based upon looking at it.
Industry
ICBR: I know that this may be more of a sensitive question so please do not feel that you have to answer it. As a female that is just starting to make a name for herself in the weird world of comics, what have been your thoughts on entering a highly male dominant industry?
SM: Not a sensitive question at all. I guess I don't normally think about that. Everyone I have worked with so far, male and female, has been really cool and every experience unique. I'm just sitting in my studio drawing pictures like everyone else.
SM: Not a sensitive question at all. I guess I don't normally think about that. Everyone I have worked with so far, male and female, has been really cool and every experience unique. I'm just sitting in my studio drawing pictures like everyone else.
ICBR: Do you think that sex plays a role when it comes to getting assigned to a book or being picked up by a publisher?
SM: Honestly, I have no way of knowing. Hopefully they are looking at the artist's art/storytelling/writing abilities through the work they have because that's what counts.
SM: Honestly, I have no way of knowing. Hopefully they are looking at the artist's art/storytelling/writing abilities through the work they have because that's what counts.
ICBR: What kind of advice would you give other young women like yourself that may be seeking a career within comic books?
SM: Work hard and be yourself! Work on your craft every day, be confident, and be driven. Always be professional and respectful to others in the field and out, but always respect yourself too. Try not to take criticism personally, instead listen and utilize everything you can learn from people critiquing your work without beating yourself up.
Get your work out there, people need to know you exist in order to hire you, and just because one company says no it isn't a big deal. Get back out and show your work to 1000 more.
Oh and get off the internet and get back to work!
But that's the same advice I would give anyone wanting to work in comics!
SM: Work hard and be yourself! Work on your craft every day, be confident, and be driven. Always be professional and respectful to others in the field and out, but always respect yourself too. Try not to take criticism personally, instead listen and utilize everything you can learn from people critiquing your work without beating yourself up.
Get your work out there, people need to know you exist in order to hire you, and just because one company says no it isn't a big deal. Get back out and show your work to 1000 more.
Oh and get off the internet and get back to work!
But that's the same advice I would give anyone wanting to work in comics!
ICBR: Can you tell the readers about your experiences with the Kubert School?
SM: I had a good time. I worked hard and drew a lot! The instructors are great, they know what they are talking about and there is nothing better than learning from people currently in the industry! It gave me the tools I needed to go out and work in the field.
Also, I am so grateful that I had Joe as an instructor, he was one of the most genuinely great people I have ever had the privilege of knowing. I wouldn't be where I am today if I hadn't gone there.
Now I'm instructing at the Kubert School and I really enjoy that too. It's really interesting seeing both sides, I never expected to be an instructor, I have learned so much and it's exciting to see students learn and grow as artists.
SM: I had a good time. I worked hard and drew a lot! The instructors are great, they know what they are talking about and there is nothing better than learning from people currently in the industry! It gave me the tools I needed to go out and work in the field.
Also, I am so grateful that I had Joe as an instructor, he was one of the most genuinely great people I have ever had the privilege of knowing. I wouldn't be where I am today if I hadn't gone there.
Now I'm instructing at the Kubert School and I really enjoy that too. It's really interesting seeing both sides, I never expected to be an instructor, I have learned so much and it's exciting to see students learn and grow as artists.
ICBR: Would you recommend the Kubert School to other artists trying to get their start in the industry?
SM: Definitely! If you want to draw, tell a story and have a well-rounded knowledge of the field it is the place to go! However, you have to be ready to do a lot of work! You will be drawing every day practically every hour of the day.
SM: Definitely! If you want to draw, tell a story and have a well-rounded knowledge of the field it is the place to go! However, you have to be ready to do a lot of work! You will be drawing every day practically every hour of the day.
ICBR: While I’ve been a self-publisher in the past and have some clue as to what all the roles are on the books, can you explain to the readers that may be new to this process about the job of the colorist? What do you do? What’s a normal job look like to you? Etc…
SM: Essentially the colorist takes black and white pages and puts color on them. I use Photoshop to color the pages. I usually get pages trickled down to me by the inker and I go from there. I have yet to get the entire book before starting colors. First you need to separate colors-which I usually hire someone else to help with, because it can be fairly time consuming and deadlines can be fierce. Then I begin the rendering process. This includes shadows and highlights, textures, lighting and all those fun special effects that comics have.
Depending on the time constraints of the book I could have less than a week to do the book or I could have several months. One time, I was helping to ink backgrounds and coloring the same book almost at the same time. What a week! -I'm always one who gets a full night’s sleep though. I'm a firm believer in the fact that your work will suffer if you don't take care of yourself.
SM: Essentially the colorist takes black and white pages and puts color on them. I use Photoshop to color the pages. I usually get pages trickled down to me by the inker and I go from there. I have yet to get the entire book before starting colors. First you need to separate colors-which I usually hire someone else to help with, because it can be fairly time consuming and deadlines can be fierce. Then I begin the rendering process. This includes shadows and highlights, textures, lighting and all those fun special effects that comics have.
Depending on the time constraints of the book I could have less than a week to do the book or I could have several months. One time, I was helping to ink backgrounds and coloring the same book almost at the same time. What a week! -I'm always one who gets a full night’s sleep though. I'm a firm believer in the fact that your work will suffer if you don't take care of yourself.
Experiences
ICBR: I’ve been looking through some of your work like Convergence: Suicide Squad, X-Files Season 10 and John Carpenter’s Asylum. You’ve done an outstanding job as the colorist. What is your process for determining the color scheme of the books?
SM: Thank you! I always prefer to talk with the people I'm working for and with. I like to get a feel for what everyone wants, what the mood is, what the world is like. Oh, and I always read the script through first. All those books had very different worlds, they were all a pleasure to color!
SM: Thank you! I always prefer to talk with the people I'm working for and with. I like to get a feel for what everyone wants, what the mood is, what the world is like. Oh, and I always read the script through first. All those books had very different worlds, they were all a pleasure to color!
|
|
ICBR: How closely do you work with the rest of the creative team to help develop the feel of the story in your artwork?
SM: Pretty closely, I really like to get a feel for what the editor, writer and especially the artist wants before I begin. Also I love getting feedback from the artist as well as the editor. Sometimes the writer will even join in! It is after all the artists’ art though so I want to do everything I can to make their work shine.
I'm not there to show off or dominate the artwork, I'm there to make the artist's work look even cooler. I'm looking for a kind of synergy. It's important that each piece from the colors to letters fuse together with the artwork to become a part of the whole story.
SM: Pretty closely, I really like to get a feel for what the editor, writer and especially the artist wants before I begin. Also I love getting feedback from the artist as well as the editor. Sometimes the writer will even join in! It is after all the artists’ art though so I want to do everything I can to make their work shine.
I'm not there to show off or dominate the artwork, I'm there to make the artist's work look even cooler. I'm looking for a kind of synergy. It's important that each piece from the colors to letters fuse together with the artwork to become a part of the whole story.
ICBR: Outside of the colorist jobs that you’ve done, tell me more about being one of Telegraphics “Dirty Seven” team of creators with Chuck Dixon?
SM: Bob Hardin's or “El Duhr's” team of the “Dirty Seven” came about when Bob wanted to get a group together for a book he was working on much like the company Telegraphics does. There they have different people penciling, inking, coloring, the works all in one studio all working together.
Bob got us all together to work on Chuck Dixon's book “7 Deadly Sinners” with him, which is pretty rad. We pencil, he inks, and Chuck creates and writes. It's a pretty sweet team!
SM: Bob Hardin's or “El Duhr's” team of the “Dirty Seven” came about when Bob wanted to get a group together for a book he was working on much like the company Telegraphics does. There they have different people penciling, inking, coloring, the works all in one studio all working together.
Bob got us all together to work on Chuck Dixon's book “7 Deadly Sinners” with him, which is pretty rad. We pencil, he inks, and Chuck creates and writes. It's a pretty sweet team!
ICBR: How did you pick up the name “Deadly Rainbow” as part of that team?
SM: Funny story, I was asked to come to the first meeting because Bob was thinking they would need a colorist. I brought my portfolio along, which had both coloring and pencil/ink work. Bob had already given us nicknames for this team he was creating, kinda like they did in those old 60s biker movies. Later on during the meeting I got a chance to show him my work. He liked it and I got a job penciling, but the name stuck!
SM: Funny story, I was asked to come to the first meeting because Bob was thinking they would need a colorist. I brought my portfolio along, which had both coloring and pencil/ink work. Bob had already given us nicknames for this team he was creating, kinda like they did in those old 60s biker movies. Later on during the meeting I got a chance to show him my work. He liked it and I got a job penciling, but the name stuck!
ICBR: Your work on Seven Deadly Sinners was really quite good. I enjoyed how you set up each page and structured the stories in your panels. I appreciate an artist that really knows how to utilize the whole page and doesn’t confine themselves to what fits within a four square box. How was the transition from colorist to artist? How was the experience having someone like Bob Hardin ink your work?
SM: Thanks, I appreciate that! The book is still in progress, I believe we are over the half way mark now! It's going to come out as a graphic novel. I actually never did colors on the book, just pencils so the transition was easy!
Our team is full of some very talented people. Max Fuchs, Wesley St. Claire and Justin Prokowich make up the rest of the penciling team. We all do sections of the story usually switching artists in between scenes to make it more natural. Bob was actually an instructor for all of us at the Kubert School at some point so working with him is really great! He makes every page awesome, tying ours styles together and adding an awesome and crazy life to the characters and vehicles.
So yeah, it's been a great experience and I am really grateful that I'm getting the chance to work with Bob and everyone on the team. I am learning so much that I would never have learned anywhere else!
SM: Thanks, I appreciate that! The book is still in progress, I believe we are over the half way mark now! It's going to come out as a graphic novel. I actually never did colors on the book, just pencils so the transition was easy!
Our team is full of some very talented people. Max Fuchs, Wesley St. Claire and Justin Prokowich make up the rest of the penciling team. We all do sections of the story usually switching artists in between scenes to make it more natural. Bob was actually an instructor for all of us at the Kubert School at some point so working with him is really great! He makes every page awesome, tying ours styles together and adding an awesome and crazy life to the characters and vehicles.
So yeah, it's been a great experience and I am really grateful that I'm getting the chance to work with Bob and everyone on the team. I am learning so much that I would never have learned anywhere else!
ICBR: Do you know where Seven Deadly Sinners will be going or if we will ever see it in print?
SM: Yes it will be in print! I don't know when exactly, but you will definitely hear from me when it is!
SM: Yes it will be in print! I don't know when exactly, but you will definitely hear from me when it is!
ICBR: What books are on the horizon for you as either the artist or the colorist?
SM: Right now I am wrapping up colors on the first issue of Elflord, for Outland Entertainment, which is a book that was just successfully Kickstarted. The books awesomely talented artist Tony Vassallo is also a graduate of the Kubert School!
After that I will be working on more colors for the Kros graphic novel. I'll also be continuing to work on pages for “Seven Deadly Sinners” I'll also be working on my children's book and hopefully getting that wrapped up this year.
SM: Right now I am wrapping up colors on the first issue of Elflord, for Outland Entertainment, which is a book that was just successfully Kickstarted. The books awesomely talented artist Tony Vassallo is also a graduate of the Kubert School!
After that I will be working on more colors for the Kros graphic novel. I'll also be continuing to work on pages for “Seven Deadly Sinners” I'll also be working on my children's book and hopefully getting that wrapped up this year.
ICBR: What can you tell us about your work with Area 52 Studio for a creator-owned children’s book?
SM: Justin Prokowich and I created Area 52 Studio. Our first credit was in the X-files season 10 collection. We do everything from storyboards, penciling, inking, to colors and lettering and illustration and painting. We do have several other projects in the works right now, but can't say much now unfortunately. But be sure to check out our page for updates!!
The Children's Book is separate, and is something I have been wanting to do for a while. I can't say too much, but I will be doing all the art. I'm working traditional pen and ink and a mix of traditional and digital in the colors. Hint; it's got 2 of my favorite things in it.
SM: Justin Prokowich and I created Area 52 Studio. Our first credit was in the X-files season 10 collection. We do everything from storyboards, penciling, inking, to colors and lettering and illustration and painting. We do have several other projects in the works right now, but can't say much now unfortunately. But be sure to check out our page for updates!!
The Children's Book is separate, and is something I have been wanting to do for a while. I can't say too much, but I will be doing all the art. I'm working traditional pen and ink and a mix of traditional and digital in the colors. Hint; it's got 2 of my favorite things in it.
ICBR: What has inspired you to go from a story like Seven Deadly Sinners to a children’s book?
SM: I guess it is strange shift of gears when you put the two in the same sentence. Haha. I've never really thought of them together. I'm a freelancer so I work on a lot of different projects at once, One day I could be coloring the next day laying out pages for a comic or painting an illustration. Every day is different, I never get bored at work!
The children’s book idea came before I was hired on the team for “7 Deadly Sinners”. I am excited to be working and wrapping up both projects. Although it does feel pretty great to be working on something that is 100% yours!
SM: I guess it is strange shift of gears when you put the two in the same sentence. Haha. I've never really thought of them together. I'm a freelancer so I work on a lot of different projects at once, One day I could be coloring the next day laying out pages for a comic or painting an illustration. Every day is different, I never get bored at work!
The children’s book idea came before I was hired on the team for “7 Deadly Sinners”. I am excited to be working and wrapping up both projects. Although it does feel pretty great to be working on something that is 100% yours!
|
|
ICBR: On a side note… while I’m quickly becoming a fan of your work, I do have to admit that my favorite pictures from you had nothing to do with comics at all. As part of my research that I do on anyone that I will interview or write a review on, I came across your portfolio on Carbonmade.com. Your two scratchboards of Frankenstein’s Monster & the Mummy are absolutely AMAZING. Are you a fan of classic horror movies? Have you thought of doing more with them for Creator-Owned publishers like American Gothic Press?
SM: Thank you! Also wow, I actually forgot that page was still up. My new site is:
https://sianmandrake.wix.com/portfolio
I am definitely a big horror movie fan. My dad and I have been watching horror movies together since I can remember! It's had a huge impact on my life and artwork-in the best way possible of course!
It's funny you ask though because I am actually coming out with a sketchbook with my Dad of the Horror movie sketches we did last October!
Besides that I am always interested in doing more horror related art!
SM: Thank you! Also wow, I actually forgot that page was still up. My new site is:
https://sianmandrake.wix.com/portfolio
I am definitely a big horror movie fan. My dad and I have been watching horror movies together since I can remember! It's had a huge impact on my life and artwork-in the best way possible of course!
It's funny you ask though because I am actually coming out with a sketchbook with my Dad of the Horror movie sketches we did last October!
Besides that I am always interested in doing more horror related art!
