|
|
GC I always tried to make it look like a living thing. There are shots where it looks like a bat spreading its wings and other times, like you say, talons. We had an issue where it was slicing. It became solid and sliced through things. That's a way the cape has evolved as well.
TM In terms of the cape, do you think there is any logical length or have you not paid attention to it?
GC To me, it is a matter of design in any given situation. Sometimes I curse the size of the cape and other times I'm grateful for it and can exaggerate it even further. Being it's a living thing it gives you that luxury. Sometimes in a certain situation, an absolutely enormous cape adds to the emotion you are looking for and other times it's sucked so close to Spawn's body and draped so close to the ground, it looks radically different from what it is totally unfurled in its biggest dimension.
|
|
|
|
|
TM There are times when the cape is a pain in the rear, when we want to show his body, but you need to get this big drapery out of the way without obscuring everything else in the picture. Otherwise you have a man with a red backdrop in every single panel. If people notice, we have a tendency to sway the cape in one direction or the other. I did it for two reasons: 1) so I could show a little of the background; and 2) you had a sense that the wind was blowing and the natures of Earth were
|
|
in play and the cape isn't limp. There is a gale-force wind that buffets Spawn as he stands ready to go into war.
GC It's always good to have motion in stillness, even if it's totally static, have something moving - even a leaf blowing across the ground or hair blowing across the face; something to show there is life.
|
|
previous page | next page
|
|
|
