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LANNING INKING AN INFINITE CRISIS
by Jennifer Contino (Pulse)
Andy Lanning, one of the comic creators bringing the Infinite Crisis to life at DC Comics said he "got gooseflesh at the very thought of" working on this story. Find out why ...
THE PULSE: How did you become involved with the Infinite Crisis?
ANDY LANNING: Having worked with Phil [Jimenez] for over five years now, I guess he just couldn't get rid of me! We were in the midst of doing Otherworld for Vertigo when it was mentioned to me that there was this 'big' project coming up and Phil, being the gentleman that he is, put me forward as his inker of choice. He's a top lad!
THE PULSE: This is a very high profile project. Was there ever a time when you considered not doing this, because of the pressure and attention it would receive, or were you gung-ho from the first moment on to ink this major event?
LANNING: When they said it was a 'big' project they weren't kidding! Wow, a sequel to the classic 'Crisis on Infinite Earths', I got gooseflesh at the very thought of it. But I never really had any doubts about it, pressure and attention never played a part in the decision making process. I knew that the project had top-notch guys onboard - editor, writer, artist and colorists. My idea was surround myself with huge talent and hope I wouldn't stand out and let the side down!
I think most freelancers, if they're honest, have that 'I hope this isn't the job when they discover I've been faking it for all these years and that I'm crap!' -moment from time to time. I tend to have those at the beginning of jobs. Once things get started, pages roll in and deadlines begin to bite yer bum, then there's no time for those niggling doubts to plague you.
THE PULSE: How did you decide the inking technique for this series? What style are you using to bring these pages to life?
LANNING: I didn't consciously decide to approach this book any differently from any other inking assignment. My approach has always been to compliment the penciller as best as I can - to put as much into the page as the penciller has and not to skimp on the pate. Phil's pencils can be a challenge, with the level of detail he puts into a page. I feel an obligation to make sure that every tiny figure, every blade of grass he has pencilled gets to the final printed page.
THE PULSE: How has the feedback process been with DC? Have you had to reink anything or do anything over again?
LANNING: I've been lucky on that front and only had to do the odd 'tweak' here or there. Mainly to do with keeping characters on style or beefing up some shots that, on reflection after they have been inked, need a touch more black or a bit more definition on outline. That sort of thing. It's only fine tuning and as I send the pages over as jpegs before they physically leave me, I get to do these adjustments without pages coming back.
THE PULSE: What factors make one page tougher to ink than another? You told me that it sometimes takes you three days to ink just one of the pages?
LANNING: Ah yes, the three day pages, I get a warm fuzzy glow just remembering them! More like, my eyes start to bleed again and my hands shake uncontrollably!
Seriously, as I said, Phil can be a challenge, for example, the spread in issue #2 of Wonder Woman fighting OMACs over Themyscira, with an Amazon army filling the streets, that took 3 days to ink. I think I spent half a day on her hair alone! But it was all in the pencils so I had to ink it, I'd be selling everyone short if I didn't and letting Phil down big-time.You also get a real kick when the page is complete because it's such a labor of love and even though it can take so long to complete, it's not a chore and the time passes REAL quick; I'll sit down at 9.30 and start in on a page, then look up to see it's midday all of a sudden. I guess I could have narcolepsy but the pages do seem to get done.
THE PULSE: Who are some of your influences for Infinite Crisis? Do your inking influences change from project to project or are you pretty set in your ways now?
LANNING: I can't say I have influences that affect me immediately on each project. I have my own list of favourite inkers which is wide and varied and you'd be hard pressed to see how some of them actually have any bearing on what I do but they must be I there somewhere. My inking only changes in so much as they reflect the style of the person I'm inking. I think I'm one of those inkers who tries to keep the penciller's work at the forefront and not impose my own style other theirs. That's not to say that I don't appreciate and love the work of the more 'imposing' inkers; like Jansen, Nowlen, Campos and the like. In fact, one thing Phil and I talked about before we started was the fantastic work Mark Campos is doing with Ivan Reis. We're both big fans of their work and love all the 'noise' Mark adds to the inks: the splatters and white flecks he embellishes with. I'd played with that myself when Phil and I did the New X-Men, particularly on the sequences involving mass destruction, explosions and the like, so when it came to the opening sequences in Infinite Crisis #1, we decided to experiment a bit more with the 'noise' I added to the general destruction. It's and effect I think that really enhances the image.
THE PULSE: What tools do you use to ink Infinite Crisis?
LANNING: I use a Bosch 7-1/4″ Worm Drive with Rear Handle Construction Saw, with anti-snag lower guard. The SDS-plus Chipping Hammer, which has probably the highest removal rating in it's class and of course I wouldn't go anywhere without my 20 oz curved claw steel handle nail hammer, with its heat-treated high carbon steel head and rim-tempered face, it's a must!
Other, less impressive tools I tend to use are Hunt 102 nibs ( probably the best all-round dip pen nib there is), Raphael 8402 Kolinsky sable brushes #2 and 3 ( great brushes that keep a good point even if you forget to clean them often), Rotring technical pens: a nice selection from .5 for panel boarders right down to a hair-like .13 for those piddling little details that probably won't bloody print but have to be done! And a wide selection of disposable fibre tip pens (mostly Micron 005 and 001 and Faber-Castell Pitt art pens: 'S' and 'B', which is a brushpen, very handy).
I also have a nice collection of ellipse templates, circle templates, French curves and rules.
Oh and ink!
Rotring Drawing Ink, the blackest, most opaque Daddy of all inks, bar none!
THE PULSE: How has the collaboration process with the penciler been so far?
LANNING: I believe I mentioned before Phil is a gent. He is also probably the kindest, most generous person I have worked with in comics. Work-wise, we just seemed to click. From the first thing we did together (a Teen Titans splash for a 3D comic DC put out about 7 years back) it seemed that we complimented each other. So far, Phil seems to be pleased with what I'm doing and I'm more than happy to keep on doing it as I love his work, the guy's a genuine talent, he's one of the best in comics today IMHO. But then again I would say that, he's paying my bills and keeping me in power tools!
THE PULSE: What was it like seeing the first part? How well did the colorist bring the penciled and ink work to life?
LANNING: Guy and Jeromy are doing a bang-up job. Given that the deadlines are so tight on this project, these two guys are throwing everything they've got into the colors: FX galore! It's a pure joy to get to see the colors when they post them up online (yup we've got a secret FTP place and I'm not telling!). They take the art to the next level, adding depth and nuance as well as making the action stuff really pop off the page! I'm in awe of what they can do.
THE PULSE: What do you think about this darker DCU that seems to be upon us? You and Dan Abnett presented a darker Legion of Superheroes, do you tend to gravitate towards tales like that? Why?
LANNING: I think the darker the tales are the more opportunity for the writer to create genuine drama and tension. When there's a sense that anything goes and that a character is in genuine risk for their life the stakes are raised, the story taken to another level. That's not to say I'm adverse to a 'lighter' toned story or fun filled comics, there's room for all. It just seems that at the moment the vogue is for the 'darker' tale. Who knows, next year we might be up to our ears in imaginary tales again or mindswap stories. These things come in trends and it's all grist for the mill.
THE PULSE: What are some of the things about the Infinite Crisis that have you the most excited?
LANNING: It's that sense that anything can happen. I am deliberately keeping myself ignorant on the story and know about as much as you about where it's going and I'm loving every minute of the ride Geoff's taking us on, he's doing a great job. One of the stand out elements in the tale is the exploration of the relationship between the 'Big Three', Superman , Batman and Wonder Woman. I don't think things will ever be the same between these old friends and I'm intrigued to see where this plot is going but I trust Geoff, he's a great writer and he's not failed to deliver so far!
THE PULSE: How open do you think the Infinite Crisis is to new readers?
LANNING: Like most company-wide crossovers, it's going to appeal most to the die-hard fans but I think as a new reader it's an ideal jumping on point because of it's very nature: it's a smorgasbord of DCU characters-you get a taste of them all and hopefully, if something appeals you'll want to explore their adventure further in their own titles.
THE PULSE: What's next for you at DC after this series?
LANNING: I honestly don't know: I'm so immersed in Infinite Crisis at the moment that I can't see past the next deadline (which is LOOOOOOMING!). I'd hope it would be something with a nice long run in time and preferably set in a winter landscape involving camouflage suits and snow foxes!
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