|“Fear Agent #1” Page 15- pencilled by Moore & colored by Loughridge|
It ain’t easy wearing an orange and mustard yellow uniform, but you’ll be hard pressed to find fans of pulp sci-fi who would complain. The costume of Heath, hero of Image Comics’ “Fear Agent,” evokes memories of classic sci-fi heroes and that’s in part due to the coloring. In CBR’s final “Fear Agent” interview this week (though we have lots of shiny new art for fans, premiering tomorrow), CBR News caught up with series colorists Lee Loughridge and Brian Buccellato, who graciously introduced themselves to readers.
“I’ve been at this just over 11 years now,” says Loughridge. “I’ve been working on ‘The Losers’ at Vertigo, ‘Superman/Batman,’ ‘Spider-Man/ Black Cat'(finally getting finished) among others.”
“I’ve been coloring since ’94,” adds Buccellato. “I started working for my brother at his old company Electric Crayon. It was at the beginning of the computer coloring age… I worked on everything from ‘X-Men’ (Joe Mad), ‘Generation X’ (Bachalo), to Brent Anderson on the original ‘Astro City.’ I’ve pretty much worked on anything and
everything since… for the last couple years I’ve been doing primarily Top Cow stuff. I’m Francis Manapul’s regular colorist on whatever he’s doing. I wrote an issue of Darkness (#21)… and am coloring over Francis on ‘Necromancer.’ I’ve also been the regular ‘Witchblade’ colorist for the last 2 1/2 years. I may be writing a manga for Bandai (Shout out to Robert Napton!).”
Both men got involved with “Fear Agent” through different avenues, but they’re happy to be on the project regardless. “I was approached by Tony Moore to color a project for DC a while back,” explains Buccellato. I’m not sure, but I think he got my name from buddy Val Staples, whom I worked with at HiFi Color back in 2001-2002. That didn’t work out,
but I guess he thought enough of me as a colorist to bring me into the ‘FA’ fold.”
“I met Rick in one of my 11yr old kids chatrooms,” laughs Loughridge. “He was soliciting young girls. I just new I had to work with ’em.”
The appeal of working on “Fear Agent” is self evident to both colorists and Buccellato sums it up by saying, “It might be quicker to talk about the weaknesses…none. Everyone involved rocks hard and I feel very fortunate to be included. I seem to have a long inglorious history of working on books that are on the brink of cancellation… so to work with independent guys with serious talent is such a breath of fresh air
for me creatively.”
Buccellato, a multi faceted creator, also tries to provide positive feedback for the team for an informed position. “Positive encouragement… along with some very well informed suggestions on how to improve the work. There’s nothing worse than color notes from people who don’t know what the hell they are talking about. Here’s it’s just the opposite.”
In Loughridge’s case, while he enjoys working with the team, he laughs and says that he doesn’t listen to them. “I get feedback from the other guys, but I usually ignore it. It just
complicates the process. My work never really shines anywhere. It’s all about the money. Once you start putting integrity and artistic mumbo jumbo into a project you’re doomed.”
Loughridge and Buccellato are both coloring different artists, Moore and Walker respectively, and while they aren’t aping each other’s style, they will keep the look of the book constant. “I think it will be a mixture… my coloring style is different from Lee’s, but I will take use his work to influence the mood of mine,” explains Buccellato. “I think there is a happy medium. Tonally it should feel like the same book. But within that, there is a lot of room for us to have our own style.”
|“Fear Agent #6” Page 13- pencilled by Walker & colored by Buccellato|
“I try not to talk to guys like Brian,” smiles Loughridge. “Between you and I, I think he has been stealing my files and placing his line art over it. He’s been doing crap like that for a while. I’m not really into unity either, I just want to unite some money with my pockets.”
Finally, Buccellato says that the chance to work on open line work, such as that of Walker, has been a treat and adds, “Absolutely… it’s much more fun to color open art.
It’s more time consuming, but it’s ultimately more fulfilling. Just so long as I don’t overpower his lineart, I can go to town on the coloring with a style like his. And I intend to [smiles].”
Make sure to check back in with CBR News tomorrow, when we wrap up with a special art show of “Fear Agent.” If you’d like to learn more about “Fear Agent,” check out their Myspace Group.
Check out all of CBR’s “Fear Agent” coverage by looking at the Index
CBR Executive Producer Jonah Weiland Contributed To This Story.
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