Interview with Alex Ring - Comic4Me Creative Director

When did you first realize you wanted to draw for a living?

I was 12 years old and it was a warm, cloudy day along the shores of Lake Michigan where I was vacationing with my family. We were just finishing a hike when the topic of our futures came up. When it was my turn to answer, I remembered all the times I’d drawn in church to pass the time. It felt exhilarating to sketch whatever I wanted, as fast as I could, and I began to wonder if this might be something I could pursue.

Who or what got you into comics — a specific book, artist, or moment?

I was big into Webtoons in college. They were the perfect thing to read on bus rides between classes. I read a lot of the big comedy series: Blue Chair, Sarah Scribbles, etc. It seemed like a very achievable goal: becoming a Webtoons Original and earning a living making comics. 

What was the first thing you ever drew that you were genuinely proud of?

That's really hard to say. I'm sure if I reviewed everything I've ever drawn, I could point out the first real standout, but that isn't how growing as an artist works. Every time you draw something new, push yourself out of your comfort zone, or learn how to recreate something, you become a little bit better. Then you look at what you just made and go, "This is actually good, I'm proud of this!", but a few months later, when you've gradually gotten even better, you look back at the old thing and notice how much it could be improved.

Did you study art formally, or is your style self-taught?

I went to the Savannah College of Art and Design (SCAD) to get a degree in Film and Television. This degree is focused on directing and producing live-action content; however, I took many art classes as well. Sometimes it feels like I'm totally self-taught artist. I also have a Minor is Animation from SCAD.

What was your first paid illustration job, and what did it teach you?

I was paid to design Zoom video backgrounds for my father's company that they could use during their many online meetings.

How would you describe your art style to someone who's never seen your work?

The main inspirations for my art style are Cartoon Network TV shows, new paper comics, and Shonen Jump Manga. I plan to lean my style more toward the latter as I gain a better grasp of anatomy; however, I still think many influences are best to draw from.

Do you have a signature technique or visual habit readers might not notice but you always include?

I have a preferred way of drawing rings that makes them look very round and full. I like drawing that.

Digital or traditional — and why?

Digital. I couldn't live without copious uses of the Free Transform tool and Undo Button.

What's the hardest part of drawing a comic panel that most people don't think about?

The hardest part, I believe, is early composition. When you have nothing but a blank canvas in front of you, it's hard deciding what you want to draw and how. There are tricks for streamlining your decisions, but sometimes I get 'illustrator's block' and can't figure out what I want a panel to look like.

How has your style changed over the last five years?

For one, I have made great strides in improving my anatomy. My heads aren't as big as usual, my hands look far less cartoony, and I've gotten better at including all the little details of the body. I also believe my backgrounds have improved, although I still have a lot of room to grow. Backgrounds can be very challenging.

Walk us through your process from a blank page to a finished panel.

Referencing my script for content, I start a sketch layer that defines the blocking and composition of the panel. I tend to make these sketches more detailed than average, so this is the longest step. Then I move on to line work, using thick, black lines to turn the messy sketches into clean form. I then color inside those lines in the next step, usually a streamlined affair. Finally, I add highlights and shading to the composition to depict a lighting source and add further details to the characters and background.

Do you sketch the whole page first, or build it panel by panel?

I sketch the whole page first in case I ever need to change anything I've already sketched.

How long does a typical page take you, start to finish?

I would guess that drawing an entire page from blank to finished would take me 18 to 24 hours, depending on detail and demand.

What tools are always within reach when you're working?

All my most-used resources are already on my computer and drawing software. Recently, however, I bought a plastic hand model to help me draw hands. Hands are notoriously difficult to draw.

Is there a part of the process you dread, and one you look forward to every time?

Starting from a blank page tends to require easing in as I get back in the rhythm. But line work is probably what I hate the most. Getting the lines just right can take a surprisingly long time. And I think my favorite part of the process is the shading or rendering. Adding those finishing touches and seeing a panel finally come together is very pleasing.

How do you approach drawing emotion into a character's face or posture?

This is a matter of study; you need to educate yourself on what the facial expressions/postures are for each emotion. This may require exaggerating both beyond anatomical accuracy to really sell those emotions. I love drawing expressive and emotional characters so much because I can get them into all these new positions I would rarely get to do otherwise.

When you're illustrating someone else's script, how much creative freedom do you take?

When adapting someone else's script I tend to overthink and fret over what the writer would want. This may lead me to being too conservative in how I draw or ask the client for clarification for minor things. Something to work on in the future.

What's the biggest challenge in translating a written story into visual panels?

When I write a script, I am imagining what the script will look like for easy adaptation to panels. But I can rarely ever remember what I wanted the script to look like as I was writing it, which may result in artist's block as I fail to grasp what my past self was aiming for.

Have you ever disagreed with a writer about how a scene should look? How did you handle it?

Sometimes. Whenever I do, I will voice my thoughts in writing for maximum clarity. Either they will agree that my change is for the best, or they will give a valid reason for their choice, which I'll understand. I have yet to totally disagree with a writer, and I do not plan to.

What makes a comic script easy — or hard — to illustrate?

Detail. The more details are included in a scene description, the easier it will be for me to adapt. If a script is too vague with the who, what, when, where, and why, then I struggle with how I'm supposed to work with it.

What's different about drawing a personalized comic versus an original story?

When drawing an original story, I'm at liberty to handle the process however I feel is best, as the only person I need to answer to is myself. But for personalized comics, I am not adapting my own ideas, but the ideas of a client. I often worry if what I choose to do in the comic is what they would have wanted or not. Of course, 2nd drafts and redos are nothing new to the creative process.

How do you capture someone's likeness in an illustrated, stylized way?

I start by tracing over a photo of their face and body and seeing what turns out. This often results in a less-than-appealing illustration; details like lips can look like wrinkles depending on how they are rendered. Once I have a handle on a subject's anatomy, I can adapt their appearance into my signature style, exaggerating things like eye shape to better convey their nature in illustration.

What's the most memorable custom comic you've worked on?

The most memorable custom comic I have ever made was for my Uncle Doug's birthday. It was my first official commission, and I pulled out all the stops for him, even getting a copy printed for myself to remember it.

What details do you ask customers for before starting a commission?

The most necessary details are the main character's appearance and desired storyline. Then we ask them for aspects of their lives such as their job, school, and hobbies. For even more detail, we ask for their pets, favorite brands, and anything else they happen to like. We want to make their custom comic as special as possible.

Has a customer's story ever changed how you approached the art?

Yes. Sometimes a client will ask for their story to be drawn in a certain art style, such as Jack Kirby or Jim Davis. Obviously, these art styles are foreign to me; however, I appreciate the challenge of mimicking another person's style. It is fantastic practice and helps me grow as an artist.

Which comic artists influenced you the most, and what did you take from them?

The biggest influence on me is Eiichiro Oda, the writer and artist of One Piece. One Piece is my favorite story of all time, a brilliantly written and drawn story that has captured the imagination of millions for over 20 years. The success of Oda inspired me to tell my own stories my own way, to express myself freely without fear of failure, and to keep learning and growing till my works inspire others the same way One Piece did me.

Outside of comics, what inspires your work — film, music, other art forms?

Animation has always been a major influence on me, especially the output of 2010s Cartoon Network. The rounded shapes and bright colors were a very were an easy style to imitate. But I also want to draw attention to the boldly drawn slapstick of Tom and Jerry.

Is there a genre or style you'd love to try but haven't yet?

In general, I want to steer my personal style away from the thicker lines I have relied on. I believe thinner line work is preferred by the public at large, along with stronger anatomy and detailed eyes.

What's a comic (any comic, not just your own) that you think is criminally underrated?

"Aurora" by Red. It is an optimistic fantasy adventure with great writing and some of the best thought-out world-building around. I would love to see it get a TV show.

What's one piece of advice you'd give to someone who wants to draw comics professionally?

"Never stop learning and learn as you go." This means that no matter how confident you are in your art or writing, there is always room to improve. Study, practice, and experimentation are your keys to success. But don't waste your time only doing practice sketches; create the comic you want to create RIGHT NOW and learn as you go. It won't be easy; it likely won't be successful, but as long as you keep trying and keep improving, eventually your efforts will bear fruit.

What's a project — dream or real — you'd love to work on next?

It would be a dream come true to work with one of the established IPs I love. I'm always getting inspired by the shows, movies, and games I love and get the itch to give my own take on them.