O'Reilly logo

Creating Comics! by Paul Gulacy, Spencer Drate, Judith Salavetz

Stay ahead with the world's most comprehensive technology and business learning platform.

With Safari, you learn the way you learn best. Get unlimited access to videos, live online training, learning paths, books, tutorials, and more.

Start Free Trial

No credit card required

Job:05-19413 Title:Creating Comics
#175 P DTP:204 Page:60
(RAY)
060-119_19413.indd 60 5/25/10 8:59:06 PM
(Text)
Creative Process
I tried to keep this painting in the tradition of the
James Bond movie posters done in the Frank C.
McCarthy and Robert McGinnis montage vein. The
key is to pull the viewer’s eye first to the design
and then to the key reflective elements of the
story. I did three cover paintings for this story,
which was written by Doug Moench. The interior
pages were penciled and inked by myself and
colored by Steve Oliff.
The three books were eventually collected
into a trade paperback with a fourth panoramic
wraparound cover. The medium was Cel-Vinyl, a
paint frequently used by animators on acetate.
However, it can be used on a variety of surfaces.
It’s very dense and opaque with brilliant color in
place after drying.
Title: Serpent’s Tooth cover art for James Bond 007
Client: Dark Horse Comics, 1992
Medium: Cel-Vinyl on canvas
Seige was one of a handful of fantasy paintings
I’ve done in the approach commonly used by mas-
ter egg tempera artist Robert Vickery. Although I
used a different medium, I incorporated the mask-
ing technique, which Vickery relied upon. Many
parts of the painting were masked off with heavy
tracing paper, clear tape, and an X-Acto knife to
cut away the overlapping.
For instance, the stone plateau, foreground
soldiers, the girl, and the horse were masked
off and covered before I laid in the far horsemen
and the sky in oil. Next were the soldiers that are
closer and the rocks in acrylic. I hit the girl with a
green acrylic underpainting tint and the horse in a
gray-blue one.
The helmet, bridle, glove, gun belt, saddle, and
chest plate were also done in acrylic, and the rest
was completed in oil. The painting took approxi-
mately ten days to complete.
Title: Seige
Client: Eclipse Comics, 1981
Medium: Oil and acrylic paint on canvas
Paul Gulacy
Creating Comics
60
P
aul Gulacy is an internationally acclaimed
comic book artist with more than thirty years in
the field. Trained at the Art Institute of Pitts-
burgh and at Pratt Institute in New York City, Gulacy has
also worked in magazine illustration, animation, and
high-profile advertising agencies.
Gulacy’s trademark action-packed cinematic style can
be found in titles such as Shang-Chi: Master of Kung Fu,
James Bond, Star Wars, Batman, and many others. His
book Spies, Vixens, and Masters of Kung Fu is a rich
retrospective study of his extensive career catalog of
drawings and paintings. Gulacy lives in Portland, Oregon.
Job:05-19413 Title:Creating Comics
#175 P DTP:204 Page:60
(RAY)
060-119_19413.indd 60 5/25/10 8:47:52 PM
(RAY)
Job:05-19413 Title:Creating Comics
06-C57262 #175 P DTP:204 Page:61
060-119_19413.indd 61
6/14/10 4:59:21 PM
(Text)
Creative Process
I tried to keep this painting in the tradition of the
James Bond movie posters done in the Frank C.
McCarthy and Robert McGinnis montage vein. The
key is to pull the viewer’s eye first to the design
and then to the key reflective elements of the
story. I did three cover paintings for this story,
which was written by Doug Moench. The interior
pages were penciled and inked by myself and
colored by Steve Oliff.
The three books were eventually collected
into a trade paperback with a fourth panoramic
wraparound cover. The medium was Cel-Vinyl, a
paint frequently used by animators on acetate.
However, it can be used on a variety of surfaces.
It’s very dense and opaque with brilliant color in
place after drying.
Title: Serpent’s Tooth cover art for James Bond 007
Client: Dark Horse Comics, 1992
Medium: Cel-Vinyl on canvas
Seige was one of a handful of fantasy paintings
I’ve done in the approach commonly used by mas-
ter egg tempera artist Robert Vickery. Although I
used a different medium, I incorporated the mask-
ing technique, which Vickery relied upon. Many
parts of the painting were masked off with heavy
tracing paper, clear tape, and an X-Acto knife to
cut away the overlapping.
For instance, the stone plateau, foreground
soldiers, the girl, and the horse were masked
off and covered before I laid in the far horsemen
and the sky in oil. Next were the soldiers that are
closer and the rocks in acrylic. I hit the girl with a
green acrylic underpainting tint and the horse in a
gray-blue one.
The helmet, bridle, glove, gun belt, saddle, and
chest plate were also done in acrylic, and the rest
was completed in oil. The painting took approxi-
mately ten days to complete.
Title: Seige
Client: Eclipse Comics, 1981
Medium: Oil and acrylic paint on canvas
Paul Gulacy
Paul Gulacy
61
Job:05-19413 Title:Creating Comics
#175 P DTP:204 Page:61
(RAY)
060-119_19413.indd 61 5/25/10 8:47:52 PM

With Safari, you learn the way you learn best. Get unlimited access to videos, live online training, learning paths, books, interactive tutorials, and more.

Start Free Trial

No credit card required