Job:05-19413 Title:Creating Comics
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Creative Process
When I’m given a commercial assignment, the first thing I do is
figure out a storytelling context for the work. I define or pick out
the pertinent, relevant, and then most dramatic—in that order—
storytelling elements for any given piece. Then I create a mental
visualization that incorporates as many of those elements as
effectively as possible.
I don’t tend to think in terms of layout or design in particular.
Some people find that strange and unusual. Layout and design
must come naturally to me, because I don’t consciously make
that effort in my head. It just happens. In the course of laying out
the drawing, I also define the prerequisites of all the storytell-
ing elements—what needs to be highlighted, what needs to be
focused on, and all the production aspects of a particular piece of
artwork are precipitated by that effort.
W
riter and artist Michael Golden, cocreator of
Rogue of X-Men, has legions of devotees
composed not only of fans, but other artists
as well. Known for his detailed pencil work on The ’Nam,
Micronauts, G.I. Joe, and Dr. Strange, among others,
Golden never admits to a personal favorite project, but
according to one collector, “Everybody in the business has
been influenced by Dr. Strange #55.” Most artists who
say that Golden had an impact on their illustration career
single out that issue.
Other milestones include the creation of Bucky O’Hare
with Larry Hama, which led to an animated series and a
toy line designed by Golden. The comic has been optioned
for film by Continuity Studios.
As a cover artist, Golden has penciled everything from
Batman and Captain America to Vampirella. Currently
finishing Spartan for Image Comics, which he is also writ-
ing, and a personal project, Tunuki, Golden is constantly
breaking new ground with creations that stay as fresh and
exciting as ever.
Michael Golden
52
Creating Comics
Job:05-19413 Title:Creating Comics
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Job:05-19413 Title:Creating Comics
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(Text)
Creative Process
When I’m given a commercial assignment, the first thing I do is
figure out a storytelling context for the work. I define or pick out
the pertinent, relevant, and then most dramatic—in that order—
storytelling elements for any given piece. Then I create a mental
visualization that incorporates as many of those elements as
effectively as possible.
I don’t tend to think in terms of layout or design in particular.
Some people find that strange and unusual. Layout and design
must come naturally to me, because I don’t consciously make
that effort in my head. It just happens. In the course of laying out
the drawing, I also define the prerequisites of all the storytell-
ing elements—what needs to be highlighted, what needs to be
focused on, and all the production aspects of a particular piece of
artwork are precipitated by that effort.
Part and parcel of this process, I pay attention to any particulars
of copy elements, trade dress, or editorial/client priorities that
need to be addressed in the work. For instance, Rogue of X-Men
would have to wear a certain costume, and Spider-Man has a
certain chest insignia. But the layout, the rendering, and the color
are all used to define the storytelling elements. That is what is key
to me as the architect of the piece.
Title: Vigilante 2
Client: Wildstorm Publishing
Medium: Pencils, inks, Photoshop
Other milestones include the creation of Bucky O’Hare
with Larry Hama, which led to an animated series and a
toy line designed by Golden. The comic has been optioned
for film by Continuity Studios.
As a cover artist, Golden has penciled everything from
Batman and Captain America to Vampirella. Currently
finishing Spartan for Image Comics, which he is also writ-
ing, and a personal project, Tunuki, Golden is constantly
breaking new ground with creations that stay as fresh and
exciting as ever.
Michael Golden
53
Michael Golden
Job:05-19413 Title:Creating Comics
#175 P DTP:204 Page:53
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001-059_19413.indd 53 5/25/10 6:46:43 PM

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