Known for their great work on such books as Birds of Prey, Booster Gold, WWIII, 52 and other DC, Marvel, Dark Horse, and an assortment of other fine comics on the market today, Aspirations Media was thrilled to get an opportunity to work with them, as was Chad, when he say their work on the first four pages of TTTB.

    We’re thrilled also to be allowed an interview with Brian Miller, who was kind enough to answer some questions via email even though he was swamped (and still is) with work. What follows is part one of a three part interview series that will serve to wrap up the final look at the process of working on this graphic novel from beginning to end.

    So without further ado, here is interview:

Where are you/your studio located?

    Sunny, Phoenix, Arizona. It was 115º F today. Too hot to do anything except color comic book pages. Of course when it is snowing everywhere else we have the loveliest weather for trail rides, picnics, and all manner of sports. Christmas time is surreal with decorations on houses and lights on the cactus but absolutely no snow.

How long have you been doing coloring?

    I've been an artist for as long as I can remember. You know, coloring pictures with crayons in kindergarten and progressing to watercolors and magic markers by grade school. I would get so covered in the stuff I earned the nickname Marker Happy in second or third grade. So it would seem I have been destined for this career since birth.

    I started out coloring independent comics around 1992, then colored for fun all through college, and continued to moonlight as a colorist in my post collegiate career as a creative director for an ad agency. In 1998 I left the advertising world behind to found Hi-Fi. At the time Hi-Fi was providing quite a bit of pencilling and inking for comics but that all changed in 1999 when Rob Liefeld called looking for emergency overnight help with Cable 75. I was up all night coloring and just met the 6AM deadline to have all the files uploaded to Marvel in New York. Once the editors at Marvel looked at the pages they offered Hi-Fi the full time coloring gig on Cable, and after a few issues of Cable they also asked us to color Wolverine, and eventually a whole host of other titles including X-Men and Avengers. At that point Hi-Fi became known primarily for our colors and we played to our strengths as it were eventually becoming recognized by Comics Buyers Guide and Wizard Magazine as one of the top color studios in comics.

    By 2001 Hi-Fi had moved from Kansas City, Missouri to our current Phoenix, Arizona location. Since then we have been fortunate enough to work with every major publisher, including the publisher most fans recognize Hi-Fi's work from, DC Comics. I'm particularly proud of our long run on Birds of Prey, currently 64 issues and counting.

    Hopefully they will keep us around for 64 more.

What brought you to it in the first place?

    I met a gifted penciller who had an idea for an action- comedy comic book about a bumbling artist super hero. I colored the early issues of Captain Crafty which led me to comic conventions where I met other creators and publishers. Eventually I started coloring for other people and other projects but Captain Crafty will always be the thing that started me down the path of coloring comics.

Would you mind sharing a little history about Hi-fi and how it came about, like why the name 'Hi-Fi' for starters?

    Hi-Fi came as a combination of things. I dig all things sixties like Bond flicks, Jonny Quest, stereophonic records, classic motorbikes, and that sort of thing. Plus it was the very earliest days of computer color and I reckoned what I was offering people was High Fidelity color when compared to the old-style flat tones and halftone dots. So Hi-Fi was a bit of a play on words while incorporating my love for sixties culture.

Do you do other type of artwork besides comic related work?

    Yes, however much of it is secret due to non-disclosure agreements and so forth. I can say that in addition to comic book publishers Hi-Fi is honored to work with companies like Disney, Mattel, United Media, DreamWorks, Hasbro, King Features, and others. While we may not get to work with them on a daily basis, when we do the projects are always fun and exciting. Especially since we're usually helping out with properties that may not reach the public-eye for several years.

What is the process you go through in order to color a page?

    Flats, Rendering, Special Effects, and Color Separations.

    Flatting is the process of breaking a page down into areas of flat color. Much like the old style comic books.

    Rendering is the labor intensive part where we paint in all the detail on backgrounds and figures. One page can take a few hours or a few days depending upon the complexity of the art and the level of detail desired by the client.

    Special Effects are adding after the rendering is complete and might include glows from a fire, blast from a weapon, or the illumination created by a sorcerer's spell.

    Color separations are the process of trapping the line-art and separating the full color image into Cyan, Magenta, Yellow, and Black for printing. At Hi-Fi we prepare our CMYK files to reproduce accurately when printed. Sometimes we even work with the comic printer to make the separation specifically for the type of paper being used like newsprint, mando, or glossy cover stock.

Do you have any favorite artists and if so, who?

    I'm inspired by so many diverse artist, styles, and time periods of great artwork it is hard to narrow down any one favorite. I look at comics, film, print, and classic art an I'm just blown away by all the talented people who imagine all of these wonderful things. I discover new artists that inspire me daily. Some may be my contemporaries and some may have lived hundreds of years ago. That is one of the things that makes being an artists so rewarding, there is always something new to observe and learn from.

    When it comes to comic books I think in terms of comics as entertainment. To that end I am always looking at books of old movie posters and pulp fiction covers for inspiration. I think Gil Elvgren was one of the most amazing commercial illustrators and pin-up artist of the 20th century. Overlooked and underrated Elvgren was able to capture light and shadow in a way few of his contemporaries would master. Drew Struzan is certainly a modern master, his ability to render lifelike faces and define his own personal style is known by anyone who has looked upon a movie poster for an Indiana Jones or Star Wars film. I have a bookshelf full of art books and when I am feeling baffled, in a rut, or just need to clear my head I can flip through the works of past and modern masters and just sort of get lost in all the images, atmosphere and detail. Whichever artists work I am looking at that day, at that particular moment is my favorite.

    I also have the pleasure to work with some amazing comic book artists every day. Coloring such a variety of pencillers and inkers is a major benefit of my career. Each new project presents a different challenge. I try to listen to what the art asks of me and then deliver something fresh and exciting. Some pencillers are easy to color and everything happens naturally, other times I might find a project more challenging or even frustrating. I find a lot of personal and creative growth comes from working through those creative challenges instead of giving up or giving in. The collaborative effort of comics is very rewarding that way.

How did you find your way into working on Tales of Tralodren™: The Beginning?

    One of the areas where Hi-Fi tries to excel is in providing good customer service to our clients.

Hopefully this allows us to create lasting bonds of friendship with the editors, writers, and artists

we work with throughout the comics and entertainment industries. Fortunately for us we had colored

a series for Black Rock called Armor Quest. Armor Quest penciller, Sherwin Schwartzrock,

recommended Hi-Fi to Aspirations Media. After a few phone conversations with Tales of Tralodren™

creator, Chad Corrie, we decided to dive into to his fantasy world and attempt to bring color to his

imaginative and compelling narrative. So far it has been a terrific experience. Hopefully, Chad and

everyone at Aspirations will keep us onboard for the next one.

This is a huge project. How did you getting through it all without going insane?

   Lots of coffee and long nights at the drawing tablet. In all seriousness Tales of Tralodren™ has been a singularly unique experience. The penciller has laid down some epic panels and pages.

    Some of the scenes are so amazing, looking like stills lifted from any of the films from the Lord of the Rings trilogy. At first it was quite overwhelming for me and the other colorists at Hi-Fi. We've been working through it and finding ways to deliver appropriate and tasteful coloring without going berserk in the process. I know for a fact that no other comic publisher has dared to tell such a sweeping and epic adventure in a fully illustrated manner such as this. I think fans will be blown away by the amount of thought and detail incorporated into each panel of every page.

    I also have been blown away by the sheer number of characters and races of creatures in the stories. I've worked on big team books like Avengers and 52 where we are juggling maybe 20-30 different characters and keeping the continuity straight can be a real challenge. With Tales of Tralodren™ we having to try and manage continuity over many continents on multiple planets, an entire universe really. It is like nothing I have every experienced and I know fans are going to be amazed when they read the scope and scale of this project. I rather hope we're up to the challenge of it ourselves.

It's been understood you’re a comic fan and also enjoy fantasy. What sort of comics do you tend to gravitate toward these days? Any fantasy works that catch you eye/interest?

   Here is a secret, I live and breathe coloring. What that means is I do not get to the comic book shop or bookstore like I used to and unfortunately my current input is limited to films I manage to sneak away to, comics publishers send me, or stories I listen to via iTunes while coloring. I'm so bad, I need to get to a comic shop and see everything that is new. I have a stack of books, comics, and scripts waiting for me to read. I need an island holiday to sit on a beach in some far away place with no cell phone or wi-fi and just read.

    That said I enjoy stories that are about characters facing adversity and living up to their fullest potential. I guess I sort of root for the underdog or the tortured soul, the every man type of character. Whether it is a Timelord from blighty traveling the universe in his Police Box or a non-fiction [tale] of globe spanning adventure like Long Way Round I'm always drawn to those sort of man against nature, man against the universe sort of stories. The story can have dragons and wizards or motorbikes and petrolheads the message is always the same, truth will always win out over tyranny. I guess I am drawn to that sort of message regardless of what form or metaphor the message takes.

Do you have any advice for anyone looking to get into the world of coloring and the larger world of the artwork you do?

    First, if you want to make a lot of money become an investment banker, lawyer, or doctor. If you want to work in comics it has to come from a love for the medium as budgets are always tight and colorist generally do not make as much money as their pencilling and inking counterparts.

    Still reading this? OK, so your not just abut a paycheck. What sort of personal sacrifices are you willing to invest into your craft? I find there are two types of artists trying to make it in comics, starving artists and overworked artist. There are not many part- time artists, you have to be 100% committed to your craft. You also have to be available at a moment notice to make deadlines for your editor and publisher. This can mean late nights, missed family events, and an overall odd schedule to keep up with your work.

    Part of surviving in any industry is having the willpower and determination to outlast everyone else, to keep going in the face of diversity and against all odds. If that sounds like hard work, it is. You have to want it and want it badly. Professional comic artists are putting major time and effort into their work daily to stay at the top of their field. If you are not willing to put in 12 hours every day at the drawing table or computer honing your craft then this career might not be for you.

    I haven't scared you off yet? You must be pretty serious about your comic books. So, you have the love for comics, you can live on top ramen, and you don't mind going weeks without sunlight. On top of everything else you have to bring some real artistic talent to the table and that means paying attention to everyday life. Watch old black and white movie to see how light and shadow work in a dramatic setting, take a life drawing class, look at art & design books, observe color theory at work in the world around you. The power to observe and then reinterpret what you see onto a comic page is the most valuable skill you can have.

    Still with me? Good. The really great news? When you see that printed comic book and hold it in your hands for the first time, all the hard work, late nights, missed meals, and wrangling with your editor about your choice of color for the sky on page 12... it is all worth it. There is no feeling like that of being a published comic book creator. I highly recommend it.

Since you have started working on Tales of Tralodren™ have you developed any impressions or opinions about the work and/or world setting over all that you wish to share?

    Wow, where to begin? First the scope and size of the new universe that has been imagined is incredible. Chad has really put a ton of thought and creativity into coming up with all of these worlds and their races of creatures and beings. Like any great undertaking it has to start somewhere and the book Hi-Fi is coloring is just that, the beginning. And what a beginning it is. I think fans will be amazed, shocked, and thrilled all within the span of this graphic novel. Any fan of the Lord of the Rings books will find Tales of Tralodren™ instantly compelling. Kings and kingdoms, nations allied, lust for power, and betrayal all lead to an epic journey through time and space seeking control over mystic powers and answers to questions as old as time itself. And this is only the beginning.

   

Any favorite scenes or characters so far that have stuck out in your mind?

    Without giving anything away I'm very interested to see what becomes of Vkar and Xora's legacy. My curiosity is piqued and, like the fans, I'll have to wait for the second book to get my answers.

So what does the future hold for Hi-Fi and Brian and Kristy Miller?

    (NOTE: I can't really speak for Kristy so I'm just going to answer for me... I think Kristy likes to stay behind the scenes as much as possible).

    I've enjoyed the opportunity to paint a few comic books covers over the last year or so which has been very fun and rewarding. I would certainly like to paint more covers if the fans want to see them. I was flattered when one publisher told me his sales when up 35% for an issue that was advertised with a cover I painted. I take that as a good sign of things to come.

    Several book publishers have also taken a keen interest in my paintings and I think it would be nice to paint some covers for some fantasy or science fiction novels as well. My only trouble right now has been finding the time to paint more and build up my portfolio of painted covers. I find it funny that I have over 10 years worth of comic book art to show people but only a handful of paintings.

    Once I take the time to create additional cover paintings, and these projects are published, hopefully the demand will bet here for me to do more. It all starts with one brushstroke, I just need to get out there and make it happen.

It's also been discovered that you and Kristy (your lovely wife and business partner) are working on an upcoming book. Do you wish to share anything about that?

    IMPACT Books contacted Kristy a few years ago about Hi-Fi creating a book to help people break into coloring. I thought long and hard about writing the book. There are already several good books published about coloring. If we were going to write a book it would have to offer something different, something special. That is when I decided we would share many of Hi-Fi's special techniques, secret tips and tricks with our readers. We have also worked with programmers to develop special Photoshop Scripts and Actions that automate many of the technical aspects of the coloring process allowing talented people to focus on what they do best, create beautiful images. These Photoshop scripts, along with artwork to color, Hi-Fi helpers, and all sorts of goodies will be on the CD that accompanies the book.

    The book is titled Hi-Fi Color for Comics and will be published by IMPACT Books, a division of F+W publishing, in 2008. Just in time for the 10th anniversary of Hi-Fi and the 2008 summer convention season. Look for Kristy and I at a comic convention near you where we will be available to answer questions about comic coloring and signing copies of the book.

Wow, congratulations on that. The book sounds like something truly to look forward to for both pros, those just starting out in the world of coloring and people just curious about the process in general.

    So where can people see more of your work?

    www.hifidesign.com has all sorts of image galleries to look at and www.ComicBookDB.com keeps a list of nearly every book Hi-Fi has colored.

    Fans can see Hi-Fi's coloring in a variety of comics right now including Birds of Prey, Booster Gold, Countdown, & 52 Aftermath: The Four Horsemen. We also occasionally pop-up coloring stories published in Disney Adventures in the US and quite a few DreamWorks comics in the UK published by Titan Magazines. You might also find scores of graphic novels published by Graphic Universe in your local school or public library colored by Hi-Fi. And of course no one will want to miss Tales of Tralodren™:The Beginning. It really is an epic fantasy adventure like no other.

It's fairly well known that you and Kristy are Mac addicts. Is there any reason why you prefer to go with Mac over PC for your work?

    I started working in graphic arts when everything was done using Apple Macintosh computers. Microsoft was busy selling MS-DOS and Windows wasn't even a glimmer in Bill Gate's eye. So for me it was simply a matter of sticking with the proven system that worked.

    When I started Hi-Fi in 1998 of course I stocked the studio with Macs. Most of the artists that came to work at Hi-Fi were already familiar with Macintosh which made it easy to get the business going quickly. All the major publishers and printers use Macs as well so there has never been any concerns with our color separation files not working. I was never a Mac zealot, though, and when Photoshop finally became available for Windows I always assumed it was the same tool and would be just as useful. As time went by some of the colorist we hired at Hi-Fi were coming from the Windows world and they would always have an adjustment period to the Mac. I wondered if it would be a point of contention but in every case the person not only adapted to the Mac but they would also replace their Windows machine at home with a Mac or at the very least added a Mac to their existing Windows machine.

    One of the things we have always tried to do at Hi-Fi is to remove the technical obstacles and allow our artist to do what they do best, be creative. There is something special about working on the Mac that does just that. I can not point to any one feature or specification that makes the Mac better suited for artists. Maybe Apple puts more passion into their designs and that allows designers to put more passion into their creative work. Whatever that certain Mac magic may be I have noticed in every case the colorist has produced better work faster and more consistently when working on the Mac. I suppose the whole Mac experience really adds up to more than the sum of its individual parts.

    The good news is there is a choice of computer systems and software now that was not available when I started. Anyone with access to any computer who wants to try their hand at comic coloring should have the ability to do so and then decide for themselves what hardware and software combination is right for them and the work they choose to do.

Speaking of technology and changes to how things are done, where do you see the future of comics and your place in them?

    The comic book industry is a wild ride and I do not have a crystal ball to tell me what I'll be doing in 5 or 10 years time. Everyone at Hi-Fi is a hardcore comic book fan and none of us could imagine a life where comic art of some sort was not a significant art of our lives. If I am fortunate enough to make art until I no longer can than there will be nothing more I can ask for.

    As far as my place in comics I've never been too concerned with that. Hi-Fi has never been about me, I've tried to keep the focus on the projects and the artwork. I think Hi-Fi has a good legacy already, though the final chapter has yet to be written. At this point I simply feel so lucky to have been given the opportunity to work on so many different comic books, toys, games, and other projects within the world of entertainment. I'm like a kid who gets to play with his toys everyday. Batman, GI Joe, Transformers, Mickey Mouse, Peanuts, Spider-Man... all the cool stuff I grew up with as a kid I now get to help preserve and shape for the next generation. It really is a dream come true.

As we bring this to a close, is there anything else you wish to promote?

    No, nothing.

   

    Thanks again to Brian Miller and Hi-Fi for all their hard work on Tales of Tralodren™: The Beginning and taking the time to answer all these questions. Don’t forget to check out their website, new book, and their ongoing work at a comic rack near you.

   

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.