Artist: Mark McNabb
About: Vibrant colorist who primarily works with the team of Kyle Hotz and Jason Moore.
1.Tell us a short summary of your comics career?
Comic book companies that I've colored art for are Marvel, DC, Image, Archie, Dynamic Forces, Wizard, SQP Productions, Zenescope, Continuity and many others that are no longer in business like Sirius, Cross Gen, Innovation, TV Comics, Airship Entertainment, etc. Coloring comics is only part of my business in the comic book industry for the past 30 years. I've also designed multiple books, posters, calendars, trading card series, t-shirts, logos, plush toys, product design and packaging for the companies I've previously mentioned and many artist. I've been very lucky to have worked with artists like Frazetta, Boris, Hildebrandt, Chaykin, Adams, Wood, Kubert, Lee, Linsner, Romita and many, many more.
2.When did you realize you wanted to be an artist and how did you break into the comics industry?
I'm from a rural area in central Ohio and I was raised on a small farm where we had very few neighbors. My escapism was comic books and there was something that spoke to me in the writing and the art within those pages. I went on to college and got a degree in science and furthered my schooling with graduate school while working on my Masters in Education at The Ohio State University. But there was still an unanswered drive and need that those comics planted in me many years before. I traveled to the east coast and attended the Joe Kubert School of Art for three years and since then, I've lived and worked within the comic and art industry just outside of New York City. Some of my first jobs were working with Joe Kubert, Hasbro toys, coloring for SQ Productions, airbrushing Wizard magazine covers and creating comic merchandise with a company called Comic Images.
3. What were your thoughts when you were approached to work on this massive project, the most complete graphic adaptation of the Bible ever done?
I owe Kyle Hotz for bringing me into this project. He's an incredible artist that I've worked with since the nineties and it's always a pleasure to partner with him. In turn, this has led me to working with the wonderful people at Kingstone Media who are true professionals and produce a quality product. The stories that we work on were first introduced to me throughout Sunday School and now I have a chance to apply my skills to help retell some of the greatest stories ever written. I'm very lucky to be part of this dynamic team.
4. What did you find most challenging about translating an ancient text into a modern medium?
With any story, you want to think of the time period that the story takes place, the story line and what the writer is trying to communicate. You look at the line art of the artist and you try to enhance that art while helping the reader focus on what's important in each panel by using hues, contrast, values and form.
5. What advice do you have for aspiring artists into want to break into the comic book business?
To identify if you really want a career in art sometimes you have to work outside of the art field. This might give you a perspective of occupations that do not satisfy you and you might discover the hunger and drive it takes to be successful in the art field. I've worked on farms, in factories, labs and classrooms but creating art fulfills a need within me that no other job can. Art takes practice, a lot of practice. The more you do, the better you become. Many artists I know never retire or stop making art. It becomes part of you as much as eating and sleeping. Never let anyone tell you that you can't make a career in art, if you have that strong desire and determination, it will happen.