PETE WOODS ON PENCILING & INKING CATWOMAN

[MattBrady]

by Chris Arrant

There’s an old adage “there’s more than one way to skin a cat”. It’s origin may be lost in the annals of time, but it’s message is as clear and resounding as it ever was: many tasks can be accomplished in several ways. Following in the artistic footsteps of Darwyn Cooke, Cameron Stewart and Paul Gulacy might seem like a daunting task for some, but for one intrepid artist he’s taking it in stride.

Artist Pete Woods, along with writer Will Pfiefer, hit the ground running on their debut issue on Catwoman, #44. Although it was previously announced at 43, DC has pushed it back one issue to assist in the transition to a new paperstock to accomodate "something new", style-wise, that Pete has in store. Will Pfieffer's already talked with Newsarama about his thoughts on the upcoming run, so now we looked to Pete Woods for his part of the equation.

Newsarama: Over the years, Catwoman’s had a diverse array of styles and artists, most recently by Jim Balent, Darwyn Cooke and Paul Gulacy. What artists have influenced your interpretation of Catwoman?

Pete Woods: I intentionally avoided looking at previous artists on Catwoman so I wouldn't be overly influenced. That said I am a big fan of everything Darwyn has done. The costume redesign was a stroke of genius. He managed to reinvent the character and yet keep her recognizable as Catwoman - quite a feat.

I'm going for a look I think is unique in the history of the book so there's just not that much to pull from.

NRAMA: In Catwoman, you’re experimenting with a different method on your pencils. What led to this, and how do you think it will affect your finished work?

PW: Originally we had planed to do some digital gray tones along the lines of what Pascal Ferry has done in Adam Strange. The paper quality being what it is on Catwoman we realized that trying to do what we wanted would have created a muddy gray mess. I tried darkening things up and playing around with the effects, but eventually Matt Idelson (editor of Catwoman) had me stop. He felt that things just weren't working out and the final product was not as strong as the original pencils.

After that we considered printing straight from my pencils, but again technical issues cropped up at the last minute. I experimented with a couple of processes (including actually sitting down and physically inking the pages) and consulted some people who knew more about the technical aspect of things. In the end we elected to go with me physically inking rather than playing with the digital process and maybe putting out a sub-par product.

In the end I'm glad we called it as we did. The challenge for me now is to go back and ink three issues while maintaining a monthly pace on current issues. Fortunately we've got quite a bit of lead time and I can work pretty quickly when there's a fire under me.

To answer your question - finally- When we started out I was pencilling more tightly than ever. I had no inker to rely on to fix my mistakes. Now I'm pencilling fairly loosely because I'm going back in and actually drawing the detail work on the pages with ink to save time.

NRAMA: You’re teaming up on this title with writer Will Pfieffer. Without spoiling the upcoming issues, can you tell us what’s stood out to you in the story you’ve seen so far?

PW: One thing that Will has always been great at is telling a large story yet making each issue enjoyable on it's own. The first couple of issues seem like simple straightforward and fun action. By the time we get to the end of issue 45 however, readers will realize that the story is bigger than it first seemed and things are really going to get unpleasant for Selina quick.

NRAMA: Looking over the titles you’ve illustrated in the past, the most obvious thing that stands out about Catwoman is that it’s a female lead character. In your previous work on Robin, Detective Comics and even back to Deadpool and Backlash, you’ve primarily been portraying a male lead character. From the artistic side of is, how are the challenges of drawing a book like Catwoman different from your previous efforts?

PW: Well, it certainly was an intimidating prospect. One of the problems I have with a lot of comics out there is the way women are portrayed both visually and story wise. The major challenge for me will be to make Selina look attractive and powerful without being exploitive. I want Selina to look believable - like someone you could see in the real world, yet someone who is capable of doing the things Catwoman does. My wife Rebecca does a lot of posing to help ensure I get things right.

NRAMA: In addition to inking yourself, you’re also helping out in the color process. Without faulting the colorist, how do you think that you being part of the coloring process, helps the book?

PW: At the moment I'm just talking with Brad Anderson and making suggestions here and there. Many people don't really realize the powerful effect colors have on the way a comic is received. So much of a book's mood and feel is defined by the colorist. Just take a look at Jim Lee's old X-men stuff and compare it to his current work on Batman. Fortunately I've been blessed with some really excellent colorists throughout my career. Being able to discuss things like mood and special effects ensure that the final product is just that much better

NRAMA: Can you tell us how you ended up on Catwoman?

PW: The folks in the Bat office and I have had a great relationship over the years. When my run on Detective Comics was coming to an end they decided to keep that relationship going by offering me a couple of projects. Catwoman is such a great character I jumped at the chance.

NRAMA: Previous to being signed up for Catwoman, had you read much of her recent issues?

PW: I've read "Dark End of the Street", "Selina's Big Score", and the Black Mask story arc. All of those are some of my favorite stories of recent times. I've also read the occasional more recent issue just to keep up. You can never tell what character you’re going to be asked to work on next, so it's best to try and keep up a general idea of what's happening to everyone.

NRAMA: Although you’re still working in the extended “Bat Family” of books for DC, there must be significant differences between Catwoman and your work on Detective Comics and Robin. What did you do to prepare for the new title?

PW: With Robin the book has (or rather had) an optimistic and youthful lead character, so I worked in a very bouncy, cartoony style. With Detective Comics I moved on to a much more dark, shadowy, and realistic style more befitting the mood of Batman. Catwoman was more challenging to come up with a style. Darwyn Cooke had a strong graphic style, Cameron Stewart did some of the best storytelling I've seen in recent years and also kept the stylizations of Darwyn while making them believable. Paul did a great noir-ish shadowy thing. I wanted to come up with something new and yet stay true to the character. What I came up with was a much more open style while trying to maintain realism. My thinking was that Selina is trying to leave the shadows behind her- to recreate herself. She's also much more open and honest than Batman. What I ended up with is a style more like the one I use when I sketch.

NRAMA: You enjoyed a long run on Detective Comics with writer Anderson Gabrych, which ended with #800. From flipping through the entire run as a whole, the two of you really seemed to mesh well and have a whole “vibe” going. How would you describe your partnership with Anderson?

PW: Andersen and I had something I can't quite describe. I've never really had a writer I was so in sync with. There was no struggle visualizing anything Andersen wrote. He also understands the characters he's writing in a very real way. My guess is that it comes from his acting experience. I've met very few writers as capable as he is at getting into a character’s head and understanding what makes that person tick. I'm eagerly anticipating each issue of Batgirl.

NRAMA: You work in a unique studio environment with other artist as part of Mercury Studios. How has working with studio-mates affected the way you work?

PW: The people at Mercury are some of the nicest and most talented folks in the industry. One of the great things about working in a studio environment is that it always challenges you to do better work. Your fellow artists can always tell when you're slacking off and will call you on it. Being in a studio also provides a vital social element that you miss out on working at home. Finally, having a place to go to work helps you control your hours so you don't overwork and burn out too quickly.

NRAMA: In addition to just sharing a studio space & ganging up at conventions, are there any plans for a Mercury sketchbook or a title with all “Mercury Studios” creators?

PW: We've already done one sketchbook for the Emerald City convention last year, and I'm sure we'll do another for San Diego this year. We were talking for a while about doing a project together. The major problem you have with something like that is most of us have projects that take up most of our time. Combine that with the demands of everyday life and most of us just don't have the ability to get something solid together.

NRAMA: Could you describe for the Newsarama readers what your schedule is for a “typical” work day?

PW: When I go to the studio, my day usually starts at 10am. When I work at home I usually split my day up so that I do my reference gathering, layouts, correspondence, and various other computer related stuff from about 8:30 to 11am and actual penciling done from 9pm to one 1am. I do most of my layouts digitally these days and I take a lot more reference shots than I used to. Once I have that done, I blow up my layouts and print them out. Then using a light box I draw over my layouts on the board. Sometimes I'll add the extra step of redrawing my layouts in reverse on the back of the board if I need to loosen up. Once a page is done (anywhere from 3 to 10 hours) I’ll scan it and send the pencils to Matt Idelson for approval. Once approved I clean up the pencils digitally and darken the line work. Then I'll add panel borders and finally upload the page to DC's server. I usually work in a sort of assembly line fashion- I'll do four to eight pages of figures in one batch, and then go back and do all the backgrounds, and then the scanning and inking. Working that way I can get about eight pages done in a week.

NRAMA: Since the start of your career in 1996, you’ve worked with several writers for Wildstorm, DC and Marvel. But, there’s bound to be one or two you’ve been dying to work with…. Could you name some names?

PW: My very first story work for Wildstorm was on Stormwatch #39 written by Warren Ellis and I'd give just about anything to atone for my sins on that story. Warren has become one of my favorite writers - not just in comics - and I would relish the opportunity to work with him again.

I can't get enough Grant Morrison either these days - I would love a shot at one of his scripts. Garth Ennis never fails to make me laugh - Hitman/Lobo is on my list of top five comic "must-reads". Geoff Johns is also up there with folks I'd like to work with - he isn't afraid of challenging our preconceived notions of classic characters and he remembers the power of the sub-plot- and his villains read like real people. Brian Michael Bendis is the only guy who's really captured the feel of the Marvel universe since Stan Lee - I'd work with him on just about any Marvel character - or a crime comic now that I think of it.

NRAMA: In addition to her long history in comics, Catwoman has appeared in numerous incarnations on the small and big screens. Do you have a favorite?

PW: Julie Newmar - hands down. Sexy, sassy and strong.

Catwoman #44 is written by Will Pfieffer, with full pencils and inks by Pete Woods along with colorist Bras Anderson is scheduled to be in stores June 2005. For more information on Pete Woods and his work, visit his website at www.velvettiki.com or visit Mercury Studio's blog at mercurystudio.blogspot.com.

[KACH]

Looking good.

--J.

[Kolimar]

Looking good.

[aceatkins]

Bring 'em on. This run of Catwoman has repeatedly surprised me with its quality, and I was seriously concerned when Brubaker left. But Will Pfeifer's turning into quite the writer and I'll happily see what he can do here. Woods had a good run on Robin and his pencils here look like a good fit--certainly different from what's come before, but a welcome change, I think. Anyway, it's got to be better than the current Wooden Nickel arc. I won't say anything more about it but...ouch.

[Kolimar]

That was funny.

[Von Raven]

Good stuff!

Can't wait till Pfeifer's run starts...the interrim writer is just not a good fit for this book.

[LunarDaydreamer]

Finally some visual class returns to the title!

I'm back on board Catwoman with Pete Woods illustrating - not to mention the phenominal Will Pfieffer writing too - looks like quite the marriage of talents!

Catwoman's not been the same since Cameron Stewart vacated art chores - after the title hit its artistic pinacle with the phenominal Black Mask arc and the fun road trip that followed thereafter (with Guy Davis on finishes).

As much as I wanted to like it, Paul Gulacy's art didn't click at all with me. The characters looked like over sexualised marionettes and suddenly the chisled ugly of Slam Bradley looked like a thin, good looking Robert Mitchum! Moreover a certain magic seemed to dissapear from the title when he arrived.

But to digress...good luck Pete and Will - can't wait to read your run!

[Shinlyle]

Originally posted by LunarDaydreamer
Finally some visual class returns to the title!

Amen! This title's artwork has been lacking since Cameron Stewart left. Gulacy's artwork just never sat right with me, but Pete's artwork looks incredibly tight! It's about time! And, with Pfiefer on board, this title is looking GOOD!

[FIG]

Wow, really soild. I'll be getting Catwoman now.

[Bakema NL]

I was unpleasantly surprised Jim Balent wasn't doing Catwoman anymore, I liked Gulacy very much, as I always have, but of course this looks great too.

[Fazhoul]

Wow! These samples of Pete's work look awesome. I've always liked his work but it's amazing to see how much he has evolved since he first started on Robin. Can't wait to read this when it comes out.

[idkidd]

In my opinion, DC has severely mismanaged the career of Pete Woods. There's no way this guy shouldn't be a big star by now.

Since his work on Robin, it's been evident that Mr. Woods was a major talent in the making; however, DC seems content to just hold on to him and shift him from second tier book to another second tier book.

You don't need to go to the extreme of Marvel's "Young Gun" initiative to spotlight an artist; however, you can maybe give the artist regular fill in work on a best selling title or hype their work on a guest arc of a major selling title. There's all kinds of ways to do this really. DC continually drops the ball in this respect and that's why it is no surprise why so many hot talents jump to Marvel. Hey, I didn't even mention DC's shitty paper---- whoops!

[Cray_ws]

Originally posted by idkidd
In my opinion, DC has severely mismanaged the career of Pete Woods. There's no way this guy shouldn't be a big star by now.

Since his work on Robin, it's been evident that Mr. Woods was a major talent in the making; however, DC seems content to just hold on to him and shift him from second tier book to another second tier book.

You don't need to go to the extreme of Marvel's "Young Gun" initiative to spotlight an artist; however, you can maybe give the artist regular fill in work on a best selling title or hype their work on a guest arc of a major selling title. There's all kinds of ways to do this really. DC continually drops the ball in this respect and that's why it is no surprise why so many hot talents jump to Marvel. Hey, I didn't even mention DC's shitty paper---- whoops!

I think you misconstrue hype with actually finished product. Pete Woods started at Wildstorm almost 10 years ago, he just did a a run on Batman, you can't get more high profile than that.

His artwork speaks for itself and needs no hoopla or fancy label of "hot artist". I'm not even sure what you expect DC to do when he's already working on the only Catwoman book on the shelf. This isn't just another DC book.

This notion that creators need to be prodded and put on a pedestal is what creates "problem child" creators like Joe Madueria, J. Campbell, Bryan Hitch and of course Kevin Smith, all who can't seem to self-displine themselves and stick to their deadlines. What was ones the flavor of the month is now the butt-end of the jokes.

Pete Woods status is just fine, he's doing excellent work and getting projects most comicbook artist dream of getting.

[idkidd]

I think you misconstrue hype with actually finished product.

No, I am actually speaking of hype ABOUT the finished product. If proper attention had been given over the last few years, Mr. Woods would have broken out already and been a superstar name by now. If he's professional with deadlines etc. than I'm not sure where you are getting the Kevin Smith analogies. I just think there have been many missed opportunities on DC's part in pumping up the careers of their artists (and many than leave for Marvel to become "Big" names over there).

[Johnny Triangles]

Originally posted by idkidd
No, I am actually speaking of hype ABOUT the finished product. If proper attention had been given over the last few years, Mr. Woods would have broken out already and been a superstar name by now. If he's professional with deadlines etc. than I'm not sure where you are getting the Kevin Smith analogies. I just think there have been many missed opportunities on DC's part in pumping up the careers of their artists (and many than leave for Marvel to become "Big" names over there).

You have a point.

[Duke Jupiter]

Looks like Pete's going to do a fine job carrying on the tradition of great art for CATWOMAN.

I thought Paul Gulacy and Jimmy Palmiotti had a fine run on the title and I'm looking forward to seeing where they end up next. Personally, I think it'd be fun if they took on DAREDEVIL after Alex Maleev finishes up over there. As long as Gulacy has been in the business, I don't think he's had a run on a classic Marvel character.

Otherwise, DC should give Gulacy a shot at revamping one of the characters Ditko created for 'em back in the day, like the Creeper or Shade the Changing Man. That'd be fun, too. They could revive the "First Issue Special" idea or SHOWCASE and give a bunch of new or established talent a chance to sell revamps of classic characters or new ideas in a singular title.

- DJ

[veryimportant]

I see he his going with the "less is more" style.
That's great, because I personaly hate big breasts on Catwoman.
To think that at one point Jim Balent was drawing Catwoman, is enough to make my pro-feminist ideology cry. I think all sexuality should be removed from the character other than when she uses it to her advantage over the small minded men who can't think beyond their libido.

I also like that she is covered up more than a virgin in Iraq.
It just makes me feel good to support a book that treats it's feperson character so respectfuly.

You've come a long way baby!

[grendel824]

Looks nice. I'll miss Gulacy, and this stuff look like it'll be a bit more dependent on good coloring, but I'm happy with what I've seen from Woods. I like his putting the whip on the side of the belt rather than wrapped around the waist too, for some reason. It just seemed inaccesible that way.

[Kevenn]

I agree that Pete Woods' work deserves more attention, publicity, and hype from DC. This guy's work is PHENOMENAL. His talent is amazing - the penciling, inking, and being involved in the coloring process.

Pete Woods and Will Pfeifer is going to be the best thing on this title since Cameron Stewart! I'm also looking forward to the paper quality increase. This book has had shitty paper since the beginning - and even the trades have gotten less than stellar paper used on them. Maybe it's a feel that the creative team was going for, but I'm excited to be able to see the art team really stetch out do to a better quality of materials.

Good art! Too bad Will Pfeifer will probably screw CATWOMAN just like he did AQUAMAN and H-E-R-O!

[pseudosham]

oh dear god thank you, so much better than the recent pencils

[ColourMan]

Originally posted by veryimportant
I see he his going with the "less is more" style.
That's great, because I personaly hate big breasts on Catwoman.
To think that at one point Jim Balent was drawing Catwoman, is enough to make my pro-feminist ideology cry. I think all sexuality should be removed from the character other than when she uses it to her advantage over the small minded men who can't think beyond their libido.

I also like that she is covered up more than a virgin in Iraq.
It just makes me feel good to support a book that treats it's feperson character so respectfuly.

You've come a long way baby!

Why should a sexy lady be covered up?

[woodstock]

If Woods and Gabrych worked so well together, why didn't they both move to Batgirl, and Ale Garza to Catwoman?