Showing posts with label Sean Hill. Show all posts
Showing posts with label Sean Hill. Show all posts

Saturday, February 17, 2018

Sean Damien Hill talks about his "Black Power" exhibit

by Mike Rhode

Sean Damien Hill's drawings of African-American superheroes opened this week at the University of the District of Columbia's Gallery 42 (my cell phone pictures are here). The exhibit is open from February 13-28 and solely features Sean's drawings of notable black superheroes. I interviewed Sean just a year ago, and he graciously again answered questions about his new exhibit. (Photographs of the opening reception are by Bruce Guthrie)

Where did the idea of the show come from?

About a year ago Daniel Venne, head of the Art Dept. at UDC had the idea of doing a comic book themed show for Black History Month. We had known each other for some time and he was growing more and more familiar with my work, and he knew I did freelance comic work also.

Is this your first solo exhibit?

Yes it is. I’ve seldom done any art shows in the past. When I did, it was always with a buddy of mine, and I only had include one to three works or something like that. Doing this one was incredible but the anxiousness of it being MY SHOW was crazy. I’m an introvert by nature so I’m never craving that much attention so being the center of it for an art show was wild.

How many pieces are in the show?

About 20 pieces or so.
Sean Anderson from Route 3, courtesy of Sean Hill

How did you find or decide on the characters to draw?

A lot of these characters are some I’ve already been familiar with. All the DC and Marvel comics characters were creations I’ve enjoyed in the past and that aren’t being used to much right now. My favorite from DC Comics is of course Icon from the old Milestone Comics studio (published by DC) in the 90’s and of course Green Lantern John Stewart. Indy characters I included are Dreadlocks from Urbanstyle comics, Vigelance from creator Sean Mack. Anakulapo from Mshindo Kuumba, and of course Sean Anderson from Route 3 from Robert Jeffrey (and me).. I really wanted choose some heroes that are not too well known so it could also be an educational experience.


How did you draw them? Digitally, traditionally, or a combination?

The 20 drawings were done traditionally with Pentel brush pens, Copic fine liners on 500 series 11x17 and 16x20 Bristol board. The three colored prints are digital illustrations from the clip studio paint program I use all the time for most of my published work.

What's the difference between drawing digitally and drawing with pen and ink?

For me, it's always more comfortable drawing traditionally, as there is a certain amount fluidity to it. Drawing decisions are made a lot quicker even if I’m building on a lot of rough sketching and ground work to get things going. On paper, I have a better sense of how I’m going to use the space because it’s not something I can change with a zoom key. Overall for me, that’s the down side of drawing digitally, as paper size becomes so relative it’s hard to figure out ( at least for me who draws too many lines to begin with) where to focus more of my attention.

DC / Milestone Comics' Icon
Some of the drawings are done in blue pencil and then inked, can you discuss why you do that?

Traditionally blue pencil was used by artist to avoid the extra process of erasing pencils after inking. It save time because back then most printing was based on photography and cameras couldn’t pick up such a light blue. Now the digital age has caught up to all that, so now it’s more of a preference to better see your final line work over top the initial blue pencil sketch. It’s sort of become ingrained in the culture of comic illustration and digital comic drawing programs like Clip Studio Paint even have an option to turn your linework blue. Even traditional inkers print out pencils in blue nowadays so their line work is a lot clearer.

There are three color pieces in the show, where they done completely digitally?

Yes the color prints are completely digital. I have process videos on my YouTube channel of my digitally drawing two of them: https://youtu.be/sETbPU93TP0 and https://youtu.be/bWEtIVz3XjA


Val Zod, courtesy of Sean Hill
I noticed the art in the show is for sale. Is there a market for original art drawings? Does this affect the convenience of doing material digitally at sometimes?

Yes, there is definitely a market for traditional comic art. Sometimes a lot of artists who draw pages traditionally will sell the originals after the books published. It’s a major incentive to stick to traditional which is probably why half the artists in comics still do.

Which are your favorite pieces in the show?

I have three. One is Val Zod, an African-American Superman. It has to do with the fact I drew him as though he’s contemplating something; narrative is huge when doing any illustration and if you can portray that, it tells something about the subject. The others are Sean Anderson from Route 3. And Icon, my drawing is literally a man with the weight of the world on his shoulders.


20180213_190454
Yasuke (photo by Rhode)
Can you tell us more about your superhero character?

Yasuke is my love letter to all those Hitori Hanzo, Mifune and Highlander movies I watched as a kid. He is based on the real Yasuke who was an African slave made a samurai during Ido-period Japan. In my story he is an immortal cursed to make amends for serving an evil emperor. His journey is about moral questioning and if there is an objective right or wrong. Through that journey he discovers the reason for his curse.

Did you grow up on superhero comics? If so who are your favorite characters? Favorite creators?

I was raised around comics like Avengers, Teen Titans, Legion of Super-Heroes, with plenty of Batman and Superman too. My mom and grandpa would read them all the time. Grandpa actually introduced books like Will Eisner's the Spirit and Dick Tracy to me, and Mom loved the the Avengers and Teen Titans.

My favorite heroes have always been Batman, Icon, and Magneto (even though he was a villain).

Who or what would you like to work on from one of the major publishers?

If I had a chance, I’d love to do Luke Cage or Black Panther, and Batman of course, but even to have a shot at Superman because it would be fun drawing that giant square jaw and boy-scout smile.

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Introductory exhibit text (photo by Rhode)

What are your thoughts about African-American representation in the comic books? 

Well of course I’m all for it. Our media reflects our world and our beliefs. If we have different types of heroes in our media, it’s only because we believe different types of people can have a great potential, and even reach that potential. But if we only see one type of people in that role throughout our media, it’s then widely believed, at least on a subliminal level that only that particular kind of people have that potential. And that sends a sign that the rest shouldn’t bother.

On there other hand, I do think diversity in comics is a bit larger than what people credit, where some are just looking in the wrong place. I really believe if the audience gave more attention to Indy titles they might find the type of diverse storytelling we all need. It’s getting easier to self-publish nowadays and people have a lot of stories to tell.
Marvel's retconned first Captain America

Typically when someone says they want diversity in comics, it’s really a lot of the time just wanting the big two (DC and Marvel) to deliver it, but those companies have heroes that had been created and gained a lot of footing during a time where diversity was not on the table. Now to be fair, those companies have tried to diversify their heroes, but it’s often nothing original and usually a repackaging of something they already have. To me that’s not true diversity, because it can both hurt the fandom that loves that particular hero and also tells the audience being catered to that they aren’t worth investing in a new hero for.

Do you think the race of the writer/ artist should be under consideration when it comes to drawing an African-American character?

I won’t say who should be hired for what, but I think we have a responsibility help create a culture of diverse creators behind comics. Right now it’s still widely white males on the credits of most mainstream titles. I’m not saying a white writer couldn’t do a great Cyborg story because Marv Wolfman did and white creators are responsible for Black Panther, Luke Cage, Spawn, Misty Knight ... a lot of those characters [in this exhibit]. But we should create a culture in comics where the creators are diverse just like the world we live in.

DC Comics' Vixen
The Black Panther movie obviously has the issue of black superheroes on everyone's mind right now; are you interested in seeing the movie?

I am, and I’m very interested to see how it’s going to effect our medium afterwards. I know it won’t make book sales jump and stay steady, because none of the movies have been able to increase comic readership for the long term. But it’s definitely going to have an influence on how diverse stories can be told. Ultimately though, it;s up to us to determine what impact this really has, but so far it’s really hopeful.

Thursday, February 08, 2018

Feb. 13: Opening reception for "Black Power: Comic Art by Sean Damian Hill"

The opening reception for "Black Power: The Art of Sean Damian Hill" is February 13, 6:30-8 pm, University of the District of Columbia: Gallery 42. Building 42, Room A-12. The show is in celebration of Black History Month and features images of African-Americans in Comics. 

Thursday, April 06, 2017

Drawing Comics Episodes by Sean Hill

Our interview with Sean Hill ran earlier today, and while researching it, we ran across his Youtube channel where he's posted these process videos about drawing comic books electronically.

Drawing Comics Episode1: Page Process for Zenescopes Evil Heroes issue 4
Sean Hill
Sean Hill
Dec 12, 2016
https://www.youtube.com/watch?v=Q3htAgQdPTw

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Zenescope Entertainments DeathForce issue 2 cover process
Sean Hill
Apr 11, 2016
https://www.youtube.com/watch?v=fuvbgyAF8iA

cover process for the cover of Deathforce issue 2,

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Zenescope Entertainments DeathForce issue 1 cover process
Sean Hill
Apr 8, 2016
https://www.youtube.com/watch?v=B_DqeSUWJW4

its rare i get to do covers, but this was a great opportunity. this is the cover to Deathforce issue 1 due out May 18th next month. the tools used for this work are Manga Studio 5EX

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Zenescope Entertainment Tales of Terror issue 8 The Monkeys Paw process vid
Sean Hill
Apr 9, 2016
https://www.youtube.com/watch?v=5if6lD5RM6k

Process for Page 1 of Zenescope Entertainments Tales of Terror Issue 8, done in Manga Studio 5EX

Meet a Local Cartoonist: A Chat with Sean Hill

Nazir Studiosby Mike Rhode


Sean Hill is a local comic book artist, born and raised in DC proper, who seems poised for a breakout via his work for Zenescope. He was recently interviewed by another blog and I realized we hadn't submitted our usual questions to him.

What type of comic work or cartooning do you do?

Well some of the very first jobs I got hired for were horror based short stories, the most recent works for those are for Zenescope Entertainment's Dark Shaman mini series. It was about  long dead Native Shaman that returns from the dead to try and exact revenge/justice for the death of his tribe. Not to long afterwords I got a chance to draw Grimm Tales of Terror: The Monkeys Paw, I was really happy for that gig because it was a horror story I already knew of. I have also worked on some action/adventure for Jaycen Wise: Secret of the Rose, Route 3 for Terminus Media, and most recently issues 4 through 6 of Zenescope's E.V.I.L Heroes which was more superhero action. 
Zenescope Entertainments: Dark Shaman trade paper back

How do you do it? Traditional pen and ink, computer or a combination?

It's a combination of traditional and digital, I work out my thumbnails traditionally in my sketchbook. I own an 11x17 moleskine sketchbook that I draw up 2x3 inch rectangles, then I work out all my thumbs in those. After that, I open a story file in Manga Studio 5EX (a story file is a file created by the program that has as many pages as you determine you need to draw), I scan and copy/paste all my thumbnails onto the subsequent pages and work over them.



When (within a decade is fine) and where were you born?

I was born in Washington DC waaaayyyyy back when in 1981.

Why are you in Washington now?  What neighborhood or area do you live in?

I grew up in the Georgia Avenue/Perworth area in DC. That area has gone through so many changes but is the nature of the city, anything can change within 15 years or so. Right now I live in Hybla Valley in Alexandria, VA.

What is your training and/or education in cartooning?

My grandfather, Otis Hill, used to to show me a lot of stuff when I was 6 years old, after that I was introduced to my mento Kofi Tyus, Kofi has been working as an artist in D.C. His whole life so most of my training comes from him. I also went to and arts high school, Duke Ellington School of the Arts and a short stint at Maryland college of art and design. I mostly had a lot of fine art training most of my life.

Who are your influences?

Too many to name but from a kid I was inspired by Bernie Wrightson, Jim Lee -- that kind of stuff -- also artists like Mshindo Kuumba, Ivan Reis -- the list goes on.

If you could, what in your career would you do-over or change? 

It's kinda funny, but whenever I get asked for advice by a artist wanting to do comics, I typically advise they first start making there own books, it's more fulfilling working on your own thing and telling your own stories. But when I was trying to break in I thought I needed to start working for a publisher, any publisher. I think if I could do it over I would take my own advice.

What work are you best-known for?

I'm not really sure, I guess it would be between Route 3 or E.V.I.L Heroes right now.



Zenescope Entertainments: Grimm tales of Terror: Monkeys Paw
What work are you most proud of?

I'm honestly really proud of my work on Route 3 and some upcoming work I did on a book called the Guilded Age (issue 3). I put a lot work in trying to make sure that story had the vibe of taking place in its own multi-layered world.

What would you like to do  or work on in the future?

I have two personal projects I would like to have done. One is Nazireth, a fantasy retelling of the Christ story, drawing from the historical social and political issues that influenced the narrative of those events. The other is Yasuke: Lineage a story of a former slave turned Samurai, based on the historical figure Yasuke whom served under Oda Nabunaga.

What do you do when you're in a rut or have writer's block?

I think all visual story-telling is a form of problem solving, so when I'm in a rut, I honestly look at as many artists as I can to open up my mind to the possibilities of solving a story-telling issue.

What do you think will be the future of your field?

Comics is a slow changing river: it flows, the current changes but not to dynamically. I hope the Indy Comics market will grow in the sight of the consumers. Much of the diversity that's being called for in mainstream comics is already available in Indy Comics. In Japan, Manga is marketed towards almost every youngster's walk of life, but here it's dominated by adult male audiences. I'm fine with those male audiences holding the share of consumerism they have, but if the  medium were marketed to even wider audiences, it could only grow stronger.

What local cons do you attend? The Small Press Expo, Intervention, or others? Any comments about attending them?

Not too many Cons. I'm typically at Awesome Con and I have attended Baltimore and New York Comic Con pretty recently. I hope to expand on that in the near future.

Terminus Media: Route 3 trade paperback

What's your favorite thing about DC?

Honestly, it's because we're so small, you could grow up here with you childhood friends and make something of yourself, without loosing contact, because we still have some of the opportunities of a metropolitan city.

Least favorite?

Sometimes DC seems like it's trying to be a mini New York, in how it advertises to business and resources outside the city, while not making as much use of its resources in the city. Not to get too political, but so much of the growth in DC for the last 20 years have been stimulated from outside the city. I sometimes think "Come on, we don't have to be New York, we're D.C. -- we got this" but I digress.

Zenescope Entertainments E.V.I.L Heroes #5

What monument or museum do you like to take visitors to?

Oh man, the National Gallery of Art, The Portrait Gallery is a definite favorite, I love the African American museum, and most definitely the American Indian Museum.

How about a favorite local restaurant?

The Good Stuff Eatery -- no question.

Do you have a website or blog?

Yup, it is www.nazirstudios.blogspot.com

Wednesday, October 09, 2013

Sean Hill comics in the works

Local comics artist Sean Hill is illustrating a science fiction/action comic called Vegas Baby. There's a sample page below. The book is created/written by Chris Ward, who has a Kickstarter campaign going to fund the book. Sean also did the pencils and inks for the comic Route 3 (Terminus Media), which is debuting this weekend at New York Comic Con (Booth 574 in Artist Alley). Its creator/writer is Robert Jeffrey II.
Courtesy of Sean Hill and Chris Ward

Courtesy of Sean Hill and Robert Jeffrey II