Fantastic worlds and creatures leap off the pages of Mike Dubisch’s drawings and paintings. In fact as a professional artist he’s contributed to so many fantastic worlds, from Star Wars to Dungeons & Dragons to the Cthulu Mythos of HP Lovecraft, his unique and astonishing art has shaped much of what we see in popular fantasy. His work is masterful and still uses mostly traditional methods as opposed to much of the digital art that is common now.
An American artist that is currently residing in Mazatlán, Mexico with his family, Mike took the time to answer some questions for us about his work practice and his upcoming projects. His many, many upcoming projects actually. Speaking to us from his studio in Mexico he has clearly not been slowed down by the global pandemic in the least.
1. Can you describe your drawing routine: how often you draw, how many hours per day, how you break up the day with drawing?
Usually I draw every day. Sometimes, I get out and draw on location in the morning for an hour or two, others I might start a new project, getting ideas and rough sketches down on paper early. Many days I must spend several hours at the drawing desk working on comics and illustration to meet my deadlines. Some evenings I will get into refining some pencil drawings for a while, either personal or commissioned, or just doodle with ink pens, or play around with some personal watercolors if I have anything in progress.
2. How much revision/editing do you do in your work?
A lot, usually. Oftentimes I must erase and redraw something entirely before inking it. Sometimes I get a better idea, or stumble on additional reference that changes my vision, or there is editorial input that requires reworking a piece.
3. Talk about your process. Do you write a script or make up the drawing as you go?
When drawing comics, I usually write an outline after thinking about the story for a while. I then usually write a script before drawing thumbnail sketches of the pages. However, sometimes I forget I wrote a script, sometimes I forget to write a script, and sometimes I get ideas that diverge from the script while I am drawing.
4. Can you tell us about what you’re working on right now?
I am working with Thom Simmons and CedarRun books to release a premium collection of “I Am A Barbarian”, our authorized comic strip adaptation of the long out of print Edgar Rice Burroughs novel. In progress I have a short story called “Selfie From Dimension X” created with my Storycraft podcast collaborator Kraig Rasmussen that ties into both an anthology project we have discussed and a larger epic we envision. I am also in the middle of drawing a three issue miniseries “Orgy of the Blood Freaks” for Diabolik Comics continuing the occult adventures of Professor Dario Bava. I just created a series of connecting covers for Scout comics “Headless” and my work appeared recently in Slow Death Zero from Last Gasp publications. I continue to release new art and projects in Forbidden Futures magazine, and the next issue, #9, will feature a new graphic novel, “The Doula’s Curse.”
5. Do you compose the page as a whole or do you focus more on individual panel composition?
I compose as a whole, while considering the individual panel compositions as illustrations sometimes. The page has to look good all together, but sometimes you also just have to focus on what you need to see or how I personally want to draw the scene.
6.What tools do you use (please list all)?
I use a variety of heavy stock, smooth paper. I use regular #2 pencils, switching out between different brands and types. I ink using a #1 round sable brush with india ink, as well the Pentel Pocket Brushpen and Steadtler or other Pigma ink liners. I like Pro-white for corrections.
7. Do you read a lot of comics? Are you someone who reads comics and then gets excited to make more comics, or is your passion for making comics not linked to any particular love for other comics?
I read a lot of comics. My passion for making comics is definitely rooted in my interest in the art form, it’s history and creators.
8. What is more important to you, style or idea? Or neither?
Comics have a wonderful way of making otherwise unviable ideas viable, sometimes just with the charm of words and pictures together, sometimes with the uniqueness of the illustrator’s drawing style. I can hardly think of a comics character who could have been taken seriously if first introduced in prose. Even the best characters rely on exciting art and strong story to succeed.
9.Do you feel at all connected to older comics artists like Steve Ditko or Jack Kirby, or does that seem like a foreign world to you?
Those are the artists I grew up with, fortunately, as well as all the other classic artists of the 60’s and 70’s, and earlier work from the 40’s and 50’s. That’s very much where I feel connected. It’s the work that came after- From the overblown ‘90s style to the clean, academic/cinematic styles of the 2000s, the quasi-anime, digitally enhanced work of the past decade… These are the eras I have less connection with.
10. When you meet someone new, do you talk about being an artist right away? Do you identify yourself as an artist or something else?
Not right away. I am more likely to identify myself as an instructor first. I do think of myself as an artist though.
11. Do you draw from life?
Yes. I am more likely to draw on location, focusing on an object or an environment. When I can, I will go to a life drawing session. I rarely have anyone pose just for me
12. Tell us about your role with Forbidden Futures Magazine.
I helped conceive the magazine with publisher and art director Daniel Ringquist and author and fiction editor Cody Goodfellow as a venue for vast amounts of personal drawings and painting I had nowhere else to publish, with the plan of also re purposing older work, publishing planned graphic novels and possibly reprinting some out of print comic material. With Cody on board we had access to some of the most exciting new voices in genre fiction- We provide my finished illustrations to our authors and they create new micro short stories to match the art. We recently published short stories by cyberpunk godfather Rudy Rucker and bestselling author Chris Farnsworth.
13. How has your practice changed over time?
It’s hard to say. I tend to always try new things, especially with color work. I try to learn and expand what I do, and always aim higher. That being said, the biggest shift over the years is in satisfaction level. I feel like there was a time I could finish a piece and feel it was good and done to my satisfaction. Now, I require time and distance before I can judge a job well done or not.
14.What work do you most enjoy doing?
I enjoy being in the zone with a project. When my ability to envision a scene clicks with my drawing hands muscle memory and I can rough pencil page after page for hours. Or when I approach those roughs again at the right moment and find myself unable even to resist finishing those drawings, and spend hours polishing them up. I also like when I am painting a color illustration, to have small personal pieces going at the same time. These allow me to warm up to the painting stage I am doing that day without just jumping cold into my commission. Often, after I’ve decided I am done with the commission for the day, I will still spend time fiddling with the images, and then find time to finish them once the paid work is turned in.
Star of “A Christmas Story,” Peter Billingsley, resolves the controversy surrounding “Die Hard” holiday films
Star of “A Christmas Story,” Peter Billingsley, is putting up a strong argument in the age-old argument over whether or not “Die Hard” qualifies as a Christmas film.
His reasoning was so strong that he was able to persuade “Die Hard” cinematographer Jan de Bont, who wasn’t entirely convinced that the action film starring Bruce Willis is a holiday classic despite its mid-summer release date.
“Can we have a healthy debate? Can we make the argument to you of why it’s a Christmas movie?” Billingsley proposed to de Bont on a recent episode of his podcast “A Cinematic Christmas Journey.”
He continues, saying that the movie’s main setting is a Christmas party and that “production design put Santas everywhere.” Of course, there’s the scene where Willis’s character John McClane “decorates the dead body and puts it into an elevator,” which Billingsley refers to as the “iconic ‘ho ho ho’ moment.”
“But I’ll leave you with this,” Billingsley told de Bont. “Most importantly, I think it embodies the themes of Christmas of acceptance, forgiveness, love and family.”
With a nod of approval, de Bont smiles and says, “Okay, I’m sold now.”
In a video that Billingsley and his co-host Steve Byrne shared on Instagram, they can be seen grinning and laughing as de Bont concedes their disagreement.
“Die Hard,” which starred Willis, Bonnie Bedelia, and the late Alan Rickman, debuted in July 1988. It tells the story of a New York City police officer who tries to rescue hostages who are kidnapped by terrorists on Christmas eve at a party.
Willis, on the other hand, views “Die Hard” as a very different kind of film.
“Die Hard is not a Christmas movie!” He proclaimed during his 2018 Comedy Central Roast. “It’s a Bruce Willis movie, so yippee-ki-yay… and good night!”
Katrina Kaif ‘threatened’ Vicky Kaushal when she asked him to return to film set two days after their marriage: ‘Shaadi rehne hi do’
Bollywood stars Vicky Kaushal and Katrina Kaif‘s 2021 wedding ceremony in Rajasthan captured hearts with its dreamy charm. Recently, Vicky recalled how the shoot of Zara Hatke Zara Bachke collided with his marriage. The actor published that he had to take offs from Zara Hatke Zara Bachke shoot to attend his wedding. However, when the makers of the movie requested him to return to the set inside two days of marriage, Katrina issued a hazard and pushed him to remain longer with her.
Speaking about the time he used to be taking pictures for Zara Hatke Zara Bachke, Vicky instructed media, “I have completed half of of the film’s capturing earlier than my marriage and then I took off for my marriage. Right after the marriage, inside two days, they had been calling me on the set. Toh fir mujh dhamki mil gayi thi ki tumhe do din baad set pe hi jana hai toh shaadi rehne hi do (Then I acquired the hazard that if you have to go to the set in two days then don’t get married). Then I said ‘no’ and I went to the units of the movie after 5 days.”
Vicky additionally spoke about how his lifestyles has modified after marrying Katrina. Sharing how she brings ‘peace’ to his life, Vicky said, “Marriage has been in reality stunning and it absolutely is a blessing to discover a accomplice for your self the place you surely experience like you have come again home. It’s a sukoon (peace) vala feeling. It’s a fantastic feeling, she is a beautiful human being. It is enjoyable dwelling and exploring existence with her. I am touring a lot with her, some thing I didn’t journey a lot before.”
Though they belong to the equal profession, Vicky stated that he and Katrina don’t talk about work a lot. “We don’t talk about work a lot. We are each from the identical industry, so we discuss about it however we don’t talk about scripts and all,” the actor said.
On the work front, Vicky will subsequent be viewed in Sam Bahadur, which is directed by way of Meghna Gulzar. The movie will launch in theatres on December 1 and will conflict with Ranbir Kapoor’s Animal. Katrina used to be closing considered with Salman Khan in the undercover agent thriller, Tiger three
Red Carpet Style Gone Elevated Chic in Alia Bhatt’s Burgundy Gucci Short Suit
The pink carpet is the place sartorial experiments come to life. That was once the case at the GQ Man Of The Year 2023 tournament which took vicinity remaining night. The movie star visitor listing was once starry as ever with the likes of Mouni Roy and Karan Johar headlining the A-list attendees. However it was once Alia Bhatt who became heads with her purple carpet style. The Gucci manufacturer ambassador selected to characterize the Italian trend label with her dressmaker ensemble at the function. Proving to be a departure from her ordinary fashion niche, Alia selected a burgundy toned quick suit, which was once a vastly distinct silhouette from the attire and robes she is generally noticed in when on the pink carpet. Her outfit featured a plunging V-neckline that reached her waist with button important points on both aspect of the front. Her micro-mini shorts had been by and large hid below the structured sleeveless shirt, the lower back of which showcased a deep dipped detail.
What additionally made pretty the impact about Alia’s seem to be was once her desire of footwear. Rather than a heeled number, the actress picked a signature Gucci idler which got here with a excessive platform element that acquired a divisive opinion from fashionistas on social media. The autumn colours of Mrs. Bhatt’s outfit teamed with gold hoops and bracelets, which lent a heat metal glint.
Alia’s hair used to be left free whilst parted in the centre and styled poker straight as ever. Her brown toned smokey eye make-up used to be set with her common pair of glossy nude lipstick whilst her pores and skin was once highlighted and dewy.
This was once one crimson carpet match the place Alia Bhatt skipped the robes and heels and became heads anyway.
Technology4 weeks ago
Bringing Machine Learning Projects to Reality from Concept to Finish
Technology2 weeks ago
Largest AI Tech Businesses in The World Press the UK Over Safety Regulations
Technology2 weeks ago
Google Says Singapore’s Potential To Become a Global Center For AI is “Very High”
Technology3 weeks ago
The Top 5 AI Podcasts of 2024 You Shouldn’t Miss
Technology3 weeks ago
The Top 5 AI Tools of 2024 to Revolutionize Your Work
Technology3 weeks ago
Education is Rewarding Generative AI with High Marks
Technology3 weeks ago
Leveling the Payments Tech Landscape for Small Businesses with GenAI
Technology3 weeks ago
Meet the Six Firms Using Generative AI to Reimagine Customer Engagement in the Future