This edition of 7 questions features answers all the way from Vancouver as the next victim, along with being a writer and artist, is an ex-pat. It is 7 questions with… Colin Lorimer.
What was the first comic work you did that was published?
I self-published my own comic, UXB before it was picked up by Dark Horse for their
anthology title, Dark Horse Presents, but if you mean pro-work –that would have
been Earp for Radical publishing in 2010. Before all that I had spent many years
storyboarding and designing for TV and video games and still do occasionally.
What is the biggest thing you have learned since that book?
Earp was a very time consuming book with an enormous amount of characters on almost every page–not to mention the elaborate sets and props required. So I learned that I could draw almost anything that was thrown at me (thank God for Google) and keep to a deadline no matter how challenging the script may be.
What’s your process for writing/drawing a comic book?
If writing, I usually lock myself away in a darkened room to avoid any unnecessary
distractions, usually aided with copious amounts of coffee. I need complete silence to write and just pound away at the keyboard until I get what I need. Sometimes it comes easy and sometimes not– but the main goal is to just keep writing. Once I have a ‘working script’ I’ll start breaking it down into rough layouts and start playing around with the pacing and cutting pattern of the individual scenes. It’s quite an organic process and sometimes I’ll find myself veering away from what was originally written if I think of a better way of staging and visualizing it. This is how most of my creator-owned stuff is presented if I’m working with other writers too. I’ll supply them with a 22 page PDF with all the suggested changes and ideas noted for discussion; It works well and everyone gets to see how the comic is going to play– that way there are no surprises come the final art. The layouts are always the fun part of the process and also the most important as that is where all the decision making is made– the hard work comes later when I start to refine them into finished pages. At that stage, I can go on automatic and have a movie or a TV show playing in the background or crank up some tunes. As all my work is done digitally on the Cintiq in Photoshop, I’ll resize my thumbs/layouts, lower the opacity, create an ink layer and start drawing. My pencils are pretty much my inks and I just erase and rework until I get the final page to the place where it needs to be.
What is the biggest influence on your work?
I grew up on a steady diet of all the old British comics: Beano, Dandy, Whoopee and the like, but it wasn’t until I graduated to, The Savage Sword of Conan (The Black Colossus story blew my mind) and then of course, Star Wars that I knew my path was forever set. But it will always be 2000AD that remains my greatest influence; artists such as, Mike McMahon, Brian Bolland, David Leach, Ian Gibson, Dave Gibbons, Bryan Talbot, Kevin O’Neill, Carlos Ezquerra, Brendan McCarthy and Steve Dillon– I could go on and on, are just ingrained into me. Also, like most, Alan Moore played a huge part in my comic-book enlightenment, along with Pat Mills, Alan Grant and John Wagner. Frank Miller, Jamie Delano and Grant Morrison came a little later in the timeline, but they too helped me see comics in a different way. I could rattle off some fine art, poetry and various novels but I thought I’d keep it all to comics.
What are you working on right now?
I just recently finished up on the creator-owned book BURNING FIELDS from BOOM!
Studios with Mike Moreci and Tim Daniel and MILLENNIUM with Joe Harris for IDW.
What do you have out now or coming out next?
I’m currently working on a new series as writer/artist which is due to hit in the
summer of 2016. It’s a horror book set in Ireland and I’ll be joined by my now
regular partner in crime, Joana Lafuente who’ll be colouring it. I’m also working on some video game development for an Australian company, another comic in early
development, and, some cover work for Titan.
What is your favourite Irish comic?
I’m a little out of the loop on the Irish comics scene having been based in
Vancouver for quite some time but I did pick up Glimmer Man from writer/publisher,
Robert Curley when I was back in Dublin last year and really enjoyed that.