Adam Hughes (born May 5, 1967) is an American comic artist and illustrator famous for American comic book readers for rendering pinup-style female characters and cover work on titles like Wonder Woman and Catwoman . He is known as one of the main comic artistes of cheesecake, and one of the most famous and famous comic artists. Throughout his career Hughes has provided work illustrations for companies such as DC Comics, Marvel Comics, Dark Horse Comics, Lucasfilm, Warner Bros. Pictures, Playboy magazine, Joss Whedon's Mutant Enemy Productions, and Sideshow Collectibles.
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Adam Hughes was born on May 5, 1967 in Riverside suburb of Riverside, New Jersey and grew up in Florence, where he attended private elementary school. He lived in Florence until the age of 24 years.
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Careers
Initial work
Hughes, who did not have formal training in the arts, started his career in 1987. His first comic book was pinup in Eagle. He wrote two short stories and the first edition of Death Hawk , made by Mark Ellis. In 1988 Hughes became the creator of detective writer Mike W. Barr's series of Maze Agency, because his portfolio produced samples from both series and Mike Gustovich's Justice Machine. Maze Agency , published by Comico, and edited by Michael Eury, became Hughes's first regular series and his first color work. Despite wanting to draw a action-oriented superhero story at the time, he praised his work at Maze Agency, whose script Barr was composed in a complete script format, improving his skills and confidence in storytelling. In a 2004 interview, he stated that this work also developed its preference for character-oriented, action-oriented stories, both as an artist and as a writer. Hughes's interior pencil was written by Eury's old friend, Rick Magyar, and because Hughes aspires to ink his own work one day, he takes Barr's suggestion that he produces a pinup on each back cover of the edition as an ad for the next issue to practice his own ink. pencil. That's when Hughes switched to ink with a brush on Dave Stevens suggestion when Stevens saw Hughes's sample. Hughes remains in the series for a year.
After two years of providing art background or interior pencil on independent books, writer/artist Bill Willingham, who likes Hughes, has done the work for Comico, introducing Hughes to Andy Helfer, editor of the DC Comics Justice League America series . Helfer was impressed by Hughes's portfolio and asked Hughes to contact him when his contract expired. A few months later, after Comico left the business, Helfer contacted Hughes, hiring him initially to draw supplies for issues like Mister Miracle # 19, one of Hughes's favorite creations by Jack Kirby. Hughes was later made a regular artist in Justice League America, with # 31 published by his first DC Comics. By the time he started reading the book, he was still working in a comic shop two days a week. He continued to do cover and interior art on the title for two years, before switching to just providing cover.
At the age of 24, Hughes moved to Atlanta, Georgia to join Gaijin Studios, believing that working closer with fellow artists would improve his own skills. Hughes lived with Gaijin Studios for 12 years. That same year, he wrote World Largest Comic: Arcadia # 3 for Dark Horse Comics, featuring the first appearance of supernatural characters Ghost . He drew the character next in 1994 One-Shot Ghost Special . When the character was given its own series in 1995, Hughes wrote the storyline of the first three issues, "Arcadia Nocturne".
From 1994 to 1995, Hughes drew the sarcasm of "Young Captain Adventure", which appeared in some of the first editions of Penthouse Comix adult comic anthology magazine. Hughes also gave cover painted for edition # 2, and pinup in issue # 26 in 1997. In a 2011 interview, he pointed out that when he did not regret the job, he was embarrassed when he produced it, because he feared it might end the prospect his future with companies like Marvel Comics and DC Comics, and because he feels that depicting full nudity is less satisfying than just suggestive art. Hughes explains:
I truly believe that drawing a beautiful woman fully dressed is more sensual than being completely naked, lying on the table preparing to enter for CAT scanning. I firmly think that it is what you mean and suggest - more interesting - and that applies to men and women. When you get into full nudity, and swings for a fence with nakedness, it can be titillating at first, but after a while you're a bit tired and somewhat spend and decide 'Hey, you know what, I'm just gonna go watch a soccer game. 'I think you need to have a mystery, and that layer should be peeled so that the flowers stay there.
In 1995 Hughes wrote and illustrated the two editions of the 1996 edition, GenÃ,¹Ã,³: The Ordinary Hero of WildStorm, his first writing assignment. Because he did that at the WildStorm office in La Jolla, California, he spent the evenings in a suite where studio books were colored, where he learned how to color with Photoshop from the Homer Reyes colorist, Ben Dimagmaliw and Laura Martin.
In late 1998 he started four years as a cover artist in DC Wonder Woman , producing 49 covers for the series. She also provides cover art on Tomb Raider from Top Cow Comics. He finally earned a reputation as one of the best and famous comic artists.
2000s
When the Wizards of the Coast made their RPG based Star Wars 2000 d20, Hughes made designs for the original and revised core rule book, as well as Star Wars: Theed Invasion mini-RPG adventure game. When he reuses his Jedi guard portrait, Sia-Lan Wezz (his favorite character), for the 2005 One-shot Star Wars: Purge as a joke, there is an editorial interest like that. he was written into the story as one of Darth Vader's early victims.
In May 2007, a month after the launch of the feature film Spider-Man 3, Sideshow Collectibles debuted as a miniature statue of Mary Jane Watson, Everlasting love interest Spider-Man, based on artwork by Hughes. The statue, which depicts Mary Jane wearing a T-shirt and low-cut jeans that show off the top of a pink thong while bending over a metal tub holding a Spider-Man costume, caused controversy among some fans who felt the statue was sexist. Marvel discusses this issue by stating, "The Mary Jane Statue is the latest release in a limited edition collection of items.This item is intended for adults who have long been a fan of the Marvel Universe.This is only intended for adult collectors and sold.in special shops, trends, collections and comics - not mass retailing. "Sideshow Collectibles states," Our product is not produced for making political or social statements but is shaped after the current entertainment property in the market (sic).We suggest that if you find an offensive Mary Jane product that you refrain from seeing that web page. " Elizabeth McDonald of girl-wonder.org, an organization dedicated to "high-quality character depictions" in the comic industry, does not believe in sculpture designs, although he states, "To be honest, the difficulty with this statue is that if you're a comic-lady , that's not even important. Many male fans can not understand the anger it causes, because it's pretty tame in the industry. Drawing this Mary Jane can be considered superior in some industries, because her clothes do not seem to actively fall out of her. " The Toronto Star 's Malene Arpe echoed this, pointing to a female character with more revealing appearances, such as the Black Cat and Witchblade. Gary Susman of Entertainment Weekly regretted that the statue was not issued a few weeks earlier, so it could be included on the Zen Monkeys 10 list website of "Ten Worst Spiderman Tie-Ins".
In 2008, DC Comics hired Hughes to create the main female character poster at the DC Universe as a gift for the San Diego Comic-Con year, to promote upcoming DC projects. The poster, called the "Real Power of the DC Universe", featured 11 female characters, standing and sitting parallel to each other, as in the Vanity Fair gate layout. The characters were mostly clothed in white clothes rather than the superhero costumes they knew, as DC requested, so Hughes, who wanted to avoid making the poster look like a bridal magazine layout, gave each dress a slightly different color temperature. He also gives each character a different style. The garments worn by Wonder Woman, for example, resemble Greek stoles, while those worn by Poison Ivy have flower motifs. Because the Catwoman series ends soon, DC instructs Hughes to leave it off the poster, but Hughes, who likes characters, pulls him on the far left, figuring that he will Photoshop. of the final art. However, at the last minute, DC, after seeing his progress, decides that he likes inclusion, and tells Hughes to leave it. She wore a black latex night dress, with only a white scarf, because Hughes had less than 24 hours after DC revised their decision to include it, and found it easier to make it in black clothes. Hughes reasoned that Selina would be annoyed for being abandoned and then inserted as a last minute, and wearing the darkest thing she could release. The poster has become an icon, with long-lived popularity, and has generated a demand for Hughes to do other similar things with men, Marvel characters, etc. This is one image that has earned Hughes's reputation as one of the main comic cheesecake artists. About this status, Hughes says:
I do not know if I embraced the term 'cheesecake artist'. I do not like to hug anything. May I give you a warm but strong handshake term? Very good is known for being good for something, and it's not at all famous.
For an article by Hal Niedzviecki on the impact of blogs, social networking and reality television in Playboy magazine in February 2009, Hughes illustrated a two-page spread depicting a group of voyeurs who watched a topless woman in front of a computer.
Although Hughes was announced as a writer and artist at All Star Wonder Woman in 2006, he explained at San Diego Comic-Con International 2010 that the project was "in the freezer" for now, due to the difficulties involved in write and illustrate it yourself. The website indicates that after the Catwoman series ends with # 82, it will stop its DC cover job, and will focus on creating six series All Series Wonder Woman issues, though he stated in an October 2010 interview with NJ.com, after the assignment of Catwoman had concluded earlier that year that the All Star Wonder Woman was still on hold. In 2010 Chicago Comicon, editor Mark Chiarello offered him an art assignment in a four-edition miniseries. Prior to Watchmen: Dr. Manhattan, one of the eight prequelie tie-ins to the miniseries of 1986-1987 the Watchmen seminary, to be written by J. Michael Straczynski, and who will ask Hughes to postpone the completion > All-Star Wonder Woman . Hughes received the task of drawing a miniseries, announced in February 2012, and aired on August 22, 2012. Hughes commented: "I love the Alan Moore canon, with special affection for Miracleman, The League of Extraordinary Gentlemen , and most definitely Watchmen I hope to do some kind of justice on the brilliant art of Dave Gibbons: he is one of the great illustrators of all time who has worked in comics... I'm pretty eager to work with the incredible J. Michael Straczynski [ sic ] I love him Thor running, especially The guy knows how to create fabulous fairy tales, so I feel like you & I'm in good hands. "
In 2014 "She Lies at Midnite", an eight-page Batman/Catwoman story written and illustrated by Hughes using greytones, appears in the sixth and final edition of the anthology miniseries (Batman: Black and White).
On July 20, 2016 Archie Comics publishes the first edition of Betty and Veronica , a series written and illustrated by Hughes. In the series, Betty Cooper and Veronica Lodge, who are both good friends and rivals in Archie's books, will find themselves at loggerheads over the fate of a town hangout, Pop's Chocklit Shoppe, with the whole city divided into this issue. Hughes's intention was to make the characters timely and relevant, and although Hughes had stated that he preferred Betty, he also said that "Veronica Lodge is nice and fun to write about."
On December 20, 2017, Dark Horse Comics published 36 special pages of Christmas one-shot Hellboy: Krampusnacht , written by creator Hellboy Mike Mignola, and illustrated by Hughes. Although Hughes had previously pinpointed Hellboy in the Dark Horse anniversary comedy, Krampusnacht marked the first time Hughes had done an interior on the Hellboy story, and his first collaboration with Mignola. This book receives most positive reviews.
Influences, approaches and materials
Hughes's artistic influences include comic artists such as Dave Stevens, Steve Rude, Mike Mignola and Kevin Nowlan, classic American illustrators such as Norman Rockwell, Maxfield Parrish, Drew Struzan and Dean Cornwell as well as famous pin-up artists such as Alberto Vargas and George Petty. Hughes also keeps a collection of Alphonse Mucha's works near his drawing table.
According to Hughes, he does not illustrate the interior of comics regularly because creating a quality work of art that takes too much time for him to produce it on a regular monthly schedule, and that while he is able to work faster, he is usually dissatisfied. with the result when he did it. For example, he refers to a written and illustrated 1996 miniseries, GenÃ,¹Ã,³: Ordinary Hero , which took him ten months to complete. He outlined this in a 2004 interview, explaining:
Telling a lot of work, and being a good storyteller is a lot of work because you have to pay attention to it. I think anyone with enough time under their belt can hack a story. I think everyone can tell a safe story, or tell a story safely. You know, six panels, one shot per page, that sort of thing. But to do it with any style or creativity requires you to continue playing the ball all day, and this is hard work. Whatever niche I live in today's comics, the goldfish fills the bowl in it. I can not do good storytelling and do it in a timely manner, which is why no one is offering me a story anymore. Every artist who puts out regular comics with interior stuff is a guy better than me.
Hughes varies the style between projects, sometimes showing the "cartoon" look in his drawing, and at other times using references to achieve photorealistic work in his art, as in his work for Playboy magazine, in order to produce more work varied for his portfolio, should his prospects in the comic book industry ever fade away.
Hughes's copying process for his cover job is the same thing he uses when sketching for fans at the convention, with the main difference being that he covers the work in his sketchbook, before transferring the image to the virgin board with a lightbox, whereas he does the drawing convention at 11 x 14 Strathmore bristol, as he prefers to write on a coarser vellum surface than fine paper, although he enjoys an ink brush on finer paper, and also illustrates some of his Catwoman cover. on the animation paper. He undersingches early with the main holder, because he feels an ordinary pencil too quickly descends to the nub. As he explained during a sketch demonstration at a comic book convention, during this process he used the lead of Sanford Turquoise 4B, a gentle lead, though while working at home in Atlanta, where humid weather tends to damp paper, he occasionally uses B leads or leads 2B, which acts like 4B in that environment. However, his website explains that he is using a 6B lead, with some variations. For the pieces given completely with pencil, he uses a variety of pencils with varying degrees of hardness. After darkening the construction lines he wants to keep, he removes the lighter with the crushed eraser before rendering in more detail. For more detail removal, he uses a pencil-white eraser, and to remove large areas, he uses a larger white eraser, which he calls "thermonuclear eraser", for "taking care of everything".
For ink, which is the least favorite part of Hughes in the illustration process, he uses the three brushes of Scharff and Dr. Black Martin Star Hi-Carb. Hughes also likes the Faber-Castell PITT artist pen, which comes in a variety of points, including soft, medium, thick and brush tips, which Hughes used for the brushwork on the convention sketch. Although he stated in an interview in 2006 that he liked the PITT pen for a convention sketch, but never for cover work, he then used it to illustrate the cover of ImagineFX magazine # 67 in 2011, and for illustrations of Fire and Ice for Justice League card game. He will occasionally use the Copic marker in both warm and cool gray tones to make the cover on a gray scale. In a similar way to polishing it, Hughes tends to insert different parts of the sketch at random, although when making attractive women, he begins with a face, so in that case he fails to capture his good looks, the whole given illustration has not been wasted. She uses Sharpie markers to fill the larger area, which she feels will be too boring to be made with a pencil, like a character costume like Batman, which she believes must be made in black instead of blue. She uses Photoshop to color her cover job. He originally colored the cover after traditionally incorporating it, but beginning with Wonder Woman (Vol 2) # 195, he changed the method to one where he made the grayscale stage with pencils, pens and markers like paintings, and then use the Photoshop Layer tool to color each element in the image separately.
Hughes sometimes uses colored markers to decorate parts of the convention sketches, such as when he uses red for the lips of a female character, or a silver pen to create scenes arranged in outer space. When rendering all the sketches in gray or colorful colors, Hughes, who once used Prismacolor or Design 2 markers, explained in the 2010 San Diego Comic-Con International that over the past four years, he has been using the Copic marker, a set of fans to him as a gift, since the Copic marker can be refilled, and because it finds that they produce more durable colors, and can be used several times longer than other brands, as it still uses the same nibs package as August 2010 that comes with the set The first copics he was given four years earlier. When using Copics, he is careful to remove his pencil, and it does not work dark-to-light, because of the dappled effect that results from doing so. He has been doing a Copic marker demonstration at the convention on several occasions.
Personal life
Hughes and his wife, Allison Sohn, who designed the published sketchbook and set up his website, live in Atlanta.
Awards and acknowledgments
- 2003 Eisner Award "Best Cover Artist"
- Inkpot 2007 Award
- February 2008 Inkwell Awards Ambassador (February 2008-present)
Bibliography
Interior art
Dark Horse
- World Largest Comic: Ghost (1993)
- Dark Horse Presents # 50: "Hip-Deep in the Awareness Stream" (script and art, 1991)
- Ghost # 1-3 (1995)
DC
America's Best American Comics
- Many Strong Tesla Worlds (five pages) (2003) (Best American Comics)
Vertigo
- The Dreaming # 55 (two pages) (2000)
- Fairytale # 100: "The Burning Celebrity Question" and # 113 "On those Days" (with Bill Willingham, Vertigo, 2011-2012)
- Most Equitable in All Land HC (three pages) (2014)
Wildstorm
- Wildstorm Thunderbook : "WHAM! A Tale" (script and art, Wildstorm, one-shot, 2000)
Images
- 24Seven vol.2 : "The Sweetest Thing" (with Phil Hester, 2007)
- GenÃ,¹Ã,³: Ordinary Hero # 1-2 (script and art, 1996)
- Savage Dragon: Sex & amp; Violence # 1-2 (1997, just layout)
- WildC.A.T.s/X-Men: Modern Times (1997)
Marvel
- Namor, Annual Sub-Mariner # 3 (1993)
- Sensational She-Hulk # 50 (two pages) (1993)
- Annual X-Men Volume . 2 # 1 (among other artists) (1992)
Other publishers
- Blood of Dracula # 4-5, 7-11 (1988-1989) (Apple Comics)
- Death Hawk # 1 (1988) (Transfuzion Publishing)
- Eagle # 9-12 (1987)
- Maze Agency # 1-5, 8-9, 12; Yearly # 1 (1988-1990) (Comico Comics)
- Nexus vol. 2 # 57 (1989) (First Comic)
- Pat Savage: Bronze Women - Family Blood Special (1992)
- Penthouse Comix # 1-5: "Young Captain Adventure" (with George Caragonne, Tom Thornton and Joel Adams, Penthouse, 1994-1995)
- Solution # 5 (1994)
- Rangers Star # 2-3 (1987)
- Soldiers # 1-3 (1987-1988)
- Wizard # 94 (1999) (Wizard)
Work cover
DC
Marvel
- X-Men Classic # 71-79 (1992)
- Sensational She-Hulk # 52 (1993)
Other publishers
References
External links
- Official website
- Adam Hughes in the Comic Book DB
- Adam Hughes, Deviantart
- Adam Hughes in Mike's Extraordinary Comic World
- Adam Hughes in the Official Marvel Comics Handbook
Source of the article : Wikipedia
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