Tag: 2010

Carlo Pagulayan drew such comic characters like Elektra, Emma Frost, Superman, Hulk and the X-Men. He’s not a graduate of fine arts like everyone would assume. Carlo took a course in industrial engineering. “After graduation, I got a job as a Production Supervisor in a PCB plant.  It’s in shifts so, technically it’s partly a day job, and I spend some evening shifts drawing stuff.” Carlo then worked for Glasshouse Graphics since 2001. He describe how he started in comics as “Hard and lucky.  It took me 2 years from initial tryouts, and an additional 3 years before getting in through an agency; I sent out samples to Top Cow when I was in 2^nd yr college.  It’s relatively easier now, since of course, you’ve come to know more people, and people have seen the artwork.  But it’s still definitely not a walk in the park.” Like others who broke into the US Comic scene, he too has received offers to work abroad. “There was, but turned it down since I was still drawing something else, so that made it even easier to say no.  I’d be hesitant to work abroad, as I really don’t like working away from home… of course there would offers that would be hard to say no to.  So it really depends on the situation.” We asked Carlo to describe the comic scene in the US right now. He says the US scene is nearly overwhelmed with “superbeings”… “I think publishers are going mad with how to keep them in check.  But remarkably they still do, and still maintain a good number of readers with their stories.”

We asked Carlo if he has tried to draw in different art styles. He answered “I did, before trying out and of course when I was in school drew cartoon comics for the school papers.  I drew a few anime here and there but not seriously.  And right now, I’m venturing into some sculpting, which at the moment is still centered in realism.” You can also see him during events with a huge camera. Does anyone need a photographer?

“I prefer drawing in pencil traditionally, I prefer painting digitally, just because I’m messy with my stuff as it is, and I think adding paint tubes and bottles would make it hell. I envy people that could paint with real paint.” His top 3 Filipino artists are Alex Nino, Alfredo Alcala and Leinil Yu. He loves how Alex Nino’s figures flow through a scene, and how his compositions always pull you in.  “His style way back, was just beyond the times”. He admires Alfredo Alcala’s mastery of rendering and says, “I just love dissecting his linework over and over.” Finally, Leinil’s “impact, his figures always give a sense of power, compositions plain beautiful.”

The local comic scene, he says, is still kept alive through the indie people, who aren’t afraid to create new stuff, stuff that most local publishers would’ve considered risky. Does he plan on making his own comic? “Yes I do…everybody in Comics does.”

To end, Carlo shares, “There was a point that an artist always came up to me asking for critiques,  I then proceeded to ask him what he thinks of his results, and true enough he spotted his drawing errors, without me pointing it out.  It makes me appear like a jerk though, but my point is we artists know what we were hoping to achieve, and end up nearly every time unsatisfied with our work; because we very well know where we went wrong.  So my advice has always been, be your own worst critic.  And in that way you’ll also be less hurt if someone’s worse than you.”

Imagine yourself holding a copy of a Wolverine comicbook and discover that the artist was the same person who drew Tomas en Kulas of Funny Komiks.

Stephen Segovia tells us how he started out. “At first I started sending samples to the local publishers like Islas Filipinas (Funny Komiks) and GACI. At the tender age of 16, I got a job at Funny Komiks and been working with them for 6 years as a writer and artist. While doing some work for Funny Komiks, I also worked on a book called CAST by Jamie Bautista. I did 6 issues for that book.” He later met David Campiti from Glass House Graphics, who became his agent. “I got a job from Harris Comics and did a couple of series for Vampirella. I also worked with other big publishers such as Dynamite Entertainment and DC Comics.  After 5 years, I finished my contract with Glass house and now I am working solo and exclusive for Marvel comics.”

Segovia is best known for his Wolverine Series. His most favorite of all his works, he says, was Wolverine, Manifest Destiny. “I’ve really enjoyed doing that series and it’s an honor working with such a great writer like Jason Aaron.” When asked how different it was working locally and internationally, he answers, “The only difference working locally for comics and internationally is the fee. I admit that you can’t relay your expenses as a local comic artist. The fees are way too low BUT the good thing is that you enjoy working, draw what you want and also create your own story. You just have to work as many pages as possible in a day so you can earn more money. Regarding foreign work, the salary is way bigger than your local salary plus you have a chance to draw your favorite hero characters and earn so much for doing just a single page a day. The down part is you don’t have a social life. I usually spend more time on my drawing table for 16-18 hours a day. Doing a page a day on 11×17 art boards is a big deal so I have to discipline my self.”

Currently there are a lot of Filipino artists working for foreign publishers. How does Stephen think they stack up against the first generation of artists that went before them? “If I am going to compare it on the way they worked (step by step) and the resources, I should say that the new generation artist is much advanced than the first generation. Today we have Cintique, Wacom tablet and such things to speed up our work. I think we are just advanced regarding the step by step process and digital works but if I am going to compare it on the details and creative stuff, well no one can beat those classic artists. They are gods and they influence us all.”

Before he broke into Marvel, he was a member of the independent comic group Ground Zero.  Stephen says he’d love to join a local group once again. “I am cool about working with the new group if they will accept me… I’m looking forward to produce indie books again but unfortunately the only thing I can contribute is some covers or pinups.” He continues to buy independent comics until today as his way of supporting the artists.  “They are bringing back the life of the local comic books. I salute them and I hope they will never get tired of creating great stuff! For Stephen, the greatest Filipino artist is…” I think all the Filipinos out there that keep on making great comic books, never stops drawing, keeps on dreaming and helping those beginner artist are the best Filipino illustrators today”.

A few of Stephen’s influences are Travis Charest (WildCATS, Metabarons) and our very own Leinil Yu (Ultimates, Superior). He’s always been a fan of Batman, saying “I am really dreaming of doing a Batman series… Since I was a kid, I love to draw Batman.” He also wishes to collaborate with Mark Millar (Ultimates) “His writings are masterpiece. It’s like watching a blockbuster movie. I would love to draw some of his writings even if it is just a one shot, I still love to do it. Regarding on creating my own title for foreign publishers, it’s not yet on my “Goal list” but also looking forward to do one in future.”

Finally he shares, “I think I would really want to draw Tomas en Kulas again. I missed those crazy characters.” His advice to aspiring illustrators is to just keep on drawing, never stop believing yourself and have a faith in God almighty. To his fans, “Thank you for all the support! You guys are the reason why I am inspired to draw comics.”