Sometimes, I look at the work I’ve finished and I’m a bit appalled that I don’t seem to have done anything…how can it be that I was convinced that I was so busy? Then, eventually, as I trawl through my files I’ll find a big ol’ pile of flats…and then I remember!
A lot of what I do, so far, has been for Ty–he is the first to admit that he’s a perfectionist and he likes things done just so. Whenever feasible, he likes to do as much of a project as he can so it turns out just the way he would like to see it. To that end, he will often ask if he can colour a project–sometimes, that means that he really wants to colour it as he has a particular vision in mind; sometimes that means he wants the gig for me (if someone has to do it…)
When Ty is doing the colouring (rendering), then I generally flat for him to free up his time. This was for Dexter Early Cuts “Cindy Landon”, the animated webisode he did for Showtime last year (put online in February 2010). This was an interesting but demanding project for Ty with a fairly tight deadline–panels had to be approved by the production company, Showtime and Dexter’s star, Michael C. Hall. Approval takes time, and when changes were asked for, they were needed right away. It made life a little easier for Ty to have an on-staff flatter at hand..
Because Ty will mention my work to others, I sometimes get offers to work with them. That’s led to me doing some flatting for a friend of his, Chad Solomon, creator and artist behind Rabbit and Bear Paws. Chad’s work is online and is also available for sale–his latest book is out soon.
A very brief but fun gig was flatting for the amazing Jamie Grant. Gibson Quarter, for whom I’ve done some colouring, draws Johnny K, War on Drugs (written by Alan Grant) for Wasted Magazine, owned by Alan and Jamie Grant (don’t believe that they’re related but…?). Jamie usually handled most of the colouring on his own, but was running behind on some deadlines and needed a hand with flats. I happily jumped in the fray to do a couple of pages (hard to resist a chance like that, and to hear nice things about one’s colouring from an Eisner-nominated colourist). Unfortunately–budgetary concerns meant that the issue was published in black and white! But I got a credit with Jamie Grant…