I do comics with a process radically different from the assembly line the superhero factories use. Their pipeline is script>pencils>inks>colors>letters, often d

I do comics with a process radically different from the assembly line the superhero factories use. Their pipeline is script>pencils>inks>colors>letters, often done by different people at every stage; mine is script>pencils>letters>colors, all in Illustrator by me except for the script, which is largely written by my creative partner. By freeing myself from the need to look like What Superhero Comics Always Look Like, I’ve dropped an entire phase of the process. I’m not producing work anywhere near as fast, in part because I’m a slacker compared to the work schedules most people working in superhero mills take on. I also spend more time per page because I’m doing it almost all myself. I think I’m spending less time per page on my three visual stages than the total time of 2-4 people doing four separate visual stages. But working entirely in Illustrator and leaning on some of its more esoteric capabilities lets me produce work where every panel is a gorgeous little painting, with surprisingly high speed. Full control over the whole process is a nice bonus, it’s very definitely my art as opposed to the work of a team. (http://egypt.urnash.com http://egypt.urnash.com if you are curious, Parallax is the fully painted project, Decrypting Rita is much more visually constrained and done before I figured out a lot of the techniques I'm using on Parallax.)