So far we've touched on some basics of how a graphic novel is created and talked a little about the writing part and what Chad was thinking when he went into the project. Now we're going to move into the art side of things.

    Obviously this is the first thing that people are going to notice in most cases since a graphic novel is so visual. The art is a partner with the text in story telling. Indeed good art can enrich a story while bad art can detract from it. Thankfully, Lee Oaks is a great artist, as you will soon see.

    Lee is the penciler for Tales of Tralodren™: The Beginning (TTTB). So what is a penciler and how does he take a script and turn it into a finished page of art? We sat down and spoke with him to find those answers. Here is the first part of that interview:

How long have you been doing art?

    My first self-initiated drawings that quickly became comic book related were probably in the third grade. I remember my “first drawing” was of my best friend and a police officer that I made while waiting for the school bus.

Sounds like you've been drawing for a while. What brought you into the industry in general?

    Destiny. Seriously, drawing probably started as an activity for otherwise dull moments i.e. waiting for the school bus. I can remember my uncle who would draw semi-trucks for fun. (This was back in the 80's when semi-tucks were cool.) But drawing grew into a way to meditate confused emotions and acted as a sort of therapy as well. God knows I need therapy.

Okay, therapy aside, how did you find your way into comic work in general?

    It just seems like, drawing and comics go hand-in-hand. I think a large percent of comic book readers draw. So I spent my whole life trying to get paid to draw comics. Not easy, not something I recommend. Only those sick enough to sacrifice almost everything else, are those who put up with this industry. It's like drug addicts who sell everything to get more, and don't realize that they're only prolonging the misery.

It would be fair, I suppose, to say that you have had a rather bohemian background. Do you wish to share a bit about this, as far as geography goes, and its impact on your art and outlook on art?

    Okay, here's the geographical timeline: Born in Small town Wyoming; moved to Jackson Hole, Wyoming, where it can snow on the fourth of July; college in Georgia, then I was abducted and taken to live in Wallonia and became a subject of King Albert II. Then I moved to Brussels with my Walloon wife, and then we moved to the Pajotten Land in Flanders. After finding a really nice farmette in a town called Silly, we came to the realization that we belonged in America. How did living in those places affect my art? I don't think I'll ever recover. Drawing in Europe is similar to torture camps. No, seriously, I discovered that Belgium (for those who were wondering) is the Kingdom of Comics and it opened my mind to a hidden history of sequential art. Vive La Belgique, Vlaanderen ook!

After all that traveling where are you located now?

    My family and I chose Colorado to set up camp for what may be a long while.

Would you mind explaining the process you went through to bring the script to life (i.e. from script pages to finished pages of art)?

    For some reason, probably Chad's organization, this project has clicked with little derailments. I received and collected general reference for the time periods mimicked in the story and made some overlaying page format decisions like the inset panels and international format. The writer [Chad] actually wrote a reference bible describing all the characters and domains of Tralodren. He also provided notes elaborating details and or changes in the script. The costumes had already been superbly designed by Ed Waysek and there were very few character studies that I made. The script was visually compelling and took little effort to imagine and layout as thumbnails in 15 page segments. Then after feedback on the thumbnails I drew the pages on Bristol with a light 3h-7h pencil. I erase over it with a kneaded eraser and take a dark but clean t1 pencil (don't ask what a t1 pencil is, I got them from my grandmother and haven't found any since.) and went over the lightened pencils in a laborious, inking manor. Then I scan the pages and the writer/editorial team report any corrections.

What brought you to this project in the first place?

    Destiny. Right place, right time.

What did you think of it after you read the script and got all the details about it?

    I loved the story, loved the characters and action, and thought: “hmmm a prose piece with no dialogue… Has that ever happened in comics?”

Once you decided you liked the project you knew that it was going to be some work, I would imagine. How do you go about taking on a process like a graphic novel?

    It's nice to be able to see the big picture before you start on page one, so as to plan ahead, but it is very challenging to not forget when the accents are supposed to come.

Do you care to share any steps you took to bring TTTB to completion as far as your part was concerned?

    I neglected my wife and kids and cut off all contact with so-called friends.

Where there any moments you liked about the process for Tales of Tralodren™: The Beginning thus far? If so, do you care to share any?

    It is a kick seeing those scenes come to life on the pages and seeing where the art goes. I'm the first “reader” to see what happens, the only one to see it before the editor makes me change it all and draw clothes on the naked people.

So what exactly does a penciler do when it comes to comics and graphic novels?

    He/she delights. I can't think of any other job that involves as much real drawing.

Seeing that you are nearing completion of Tales of Tralodren™: The Beginning, and have therefore spent a great deal of time with the story and characters, have you found a favorite character(s)?

    Here's the neat thing about these characters: None of them are flawless and none of them are unlikable. They all pretty much get what they deserve. I [do] like Dradin [though,] despite his taste in women.

Any Advice for aspiring artists?

    Avoid eye contact with people, especially family members, they will try to start up a conversation and delay you from drawing. Then after you get off work or school, lock yourself in your drawing room and draw. Then get up really early, especially on weekends and draw. It helps if you don't leave your chair, breaks will only delay the drawing. Oh and buy a headset for your phone, so when annoying people like your mother or editor call, you can keep drawing with an occasional uh-huh.

Is there a website you want to direct people to so they can see more of your work?

   http://www.bigheadpress.com/eft

   http://leeoaks.deviantart.com/

This interview is copyrighted 2007 Corrie, Inc. All rights reserved.

No portion of this interview may be reproduced or used without the written permission of Corrie, Inc.