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The Marvel Flair brand features some of the most iconic moments in Marvel’s publishing history and has been a staple to collectors for the past three decades.
With a new iteration now out on store shelves, collectors can expect inserts that ooze with nostalgia as well as card technology that continues to push the envelope in the trading card industry. However, the highlight of the set continues to be the breathtaking artwork done by some of the best artists working today.
Upper Deck caught up with artists Simone Bianchi, Nahuel Grego, Meghan Hetrick, Tom Morgan, David Palumbo, Casey Parsons and Jonathan Koelsch for their insight in creating some of the amazing artwork for the set.
Upper Deck: How did it feel knowing you were one of the handful of amazing artists to have your art included in the Marvel Flair trading card set?
Bianchi: “It felt great as it always does to work on anything by Upper Deck. Though I have to say that it’s always hard (being asked to top) the 2018 full Marvel Masterpiece set. The great thing about a smaller project like this is the chance to focus and dedicate, spend more time on every single piece, you can work at a slower pace, and this feels really good.”
Grego: “Well of course I feel really lucky to be one of the artists selected for this spectacular set. Without a doubt, (it’s not an easy place to get into), so I am eternally grateful to Upper Deck for once again, (to)trust in my work. That challenge also encouraged me to try to do the best possible work that I can do at that moment.”
Hetrick: “It was incredible. I’ve done a few things for Upper Deck in the past, just a few paintings here and there, but to be part of the Flair set was something special.”
Koelsch: “I’m still pinching myself that it’s real! It’s an incredible thrill, honor and privilege to paint the iconic Marvel characters that I’ve read about since youth, including the paintings I studied (on) Upper Deck cards… A dream come true.
Morgan: “Well, Upper Deck has a history of showcasing incredible talent. As a relatively new painter I was both honored and excited to be asked to create original painted card art. I hope the set is well received.”
Palumbo: “Being included in this set was a joyful experience all around. I was grateful and very excited to be asked and then it was just a matter of focusing on delivering the best work that I could, to stand up alongside the other incredible artists involved.”
Parsons: “It was a happy surprise to get to make art for classic Marvel characters with Upper Deck. It still feels like I’m in a childhood dream. I was one of those kids buying boxes of cards and pouring over the wonderful art, knowing these were the high wizards of comic art. So, to be attached to that lineage is an honour, it’s surreal and I’m very grateful.”
Upper Deck: Which characters were you most excited to draw/paint and why?
Bianchi: “All re-creation(s) were an absolute treat, maybe the two I enjoyed the most were the “Secret War” piece…and the “Hulk versus Sentry” (inspired by their) original piece(s).”
Grego: “Wolverine is a character that connects me directly to my youth and to the TV series, which makes him special since he was one of my favorites. In addition to that, it is difficult for another to emanate his strength and personality. So, I was very happy to see which 2 illustrations featured this character. So, I really enjoyed depicting him especially next to the imposing Sentinel against him.”
Hetrick: “Initially it was Throg, and I think that comes through in the painting. Honestly though, I think Beta Ray Bill is my favorite overall hahah.”
Koelsch: “I’m still pinching myself that it’s real! It’s an incredible thrill, honor and privilege to paint the iconic Marvel characters that I’ve read about since youth, including the paintings I studied (on) Upper Deck cards… A dream come true. : “Honestly I really enjoy all the characters, but painting Black Panther and the Thing were extra awesome for me.”
Morgan: “Because my cards were first appearances of characters, I was truly excited to paint all of them. I would have to say my favorite is Spider-Man, at the exact moment of realization that he has caught the man who killed his Uncle Ben, the same man who he let escape earlier. It is such a powerful moment.”
Palumbo: “I was really happy to see the Fantastic Four back in the mix as I’ve always found them fun and hadn’t had much opportunity to paint them prior. But more than any one character or team, the pieces I created were all call-backs to classic Marvel moments, which meant I was able to reach back and connect with some iconic issues that I read growing up. being able to revisit Peter Parker throwing away his Spider-Man suit and Wolverine losing his adamantium through my own lens was incredibly gratifying.”
Parsons: “I think Spider-Man was the one I was most excited about, just for his popularity with the fans, knowing it was a rare opportunity to work on this iconic character. I wanted to do justice to all that it meant. I ended up with a couple iconic Spider moments, it was an exciting challenge with some healthy pressure.”
Upper Deck: What was one of the most difficult things about creating the artwork for this set?
Bianchi: “I was asked to make some layout changes on a couple of pieces, and it is always tough for me to go back and “revolutionize” my original vision of a piece. I am not a really big fan of that but being a professional means to be able to handle something like that and still come back with the best work you can.”
Grego: “I think the biggest challenge was basically the main assignment of the 11 illustrations that were assigned to me. That is the reinterpretation of the classic covers and iconic (moments) from Marvel Comics. In some case I had to completely redo the drawings and try another (solution) that was more effective and representative; many times that was left in the hands of the art direction. It took me a while to understand that it was not about copying and doing it in my own style, as I have seen many times, (but) about taking the main concept of the image and knowing how to capture it.”
Hetrick: “Working with moments overly familiar with, and the research needed for that. Otherwise, it was mostly down to time- these are oil paintings, and sometimes the weather doesn’t cooperate with drying times.”
Koelsch: “At first, I had to overcome my nerves (about) getting to do this amazing set! It’s a fine line and a challenge to be very true to what we know of each character- to be “iconic” in pose and aesthetic- yet avoid looking (too) similar to a previous artists’ work.”
Morgan: “Composing a shot to be respectful of the original comic book appearance and almost making it a clear and dramatic image for a card. Plus, group shots are tricky, you want to show as many of the characters as possible without hiding others and still have them look natural in scene.”
Palumbo: “I take the flip side of revisiting classic and iconic stories and scenes is that it’s a lot to live up to. So, I definitely felt some pressure in treating the material right and finding my angle while also keeping the homage clearly stated.”
Parson: “The difficult thing was how to take the iconic moment, with art from the greats locked in our brains, and do justice and honour (to) those creators and history, and also add my own flavour to it. It felt right to not change much, just render it carefully maybe from a slightly different angle, almost like making a comic cover for each moment.”
Upper Deck: What is unique about your process in bringing your vision to life on the canvas?
Bianchi: It’s actually a pretty standard process: sketch first, tighter pencil right after that and then move to the final painting. I do hope that every step of the process could contain a certain uniqueness, whether in terms of pencil or painting.”
Grego: “It is difficult to think of anything special in terms of the process because everything has already been created, but I could say that since I’m (used) to digital drawing. I made the drawing on a tablet in a fairly detailed way, which I projected on the paper in grayscale, and I completed with acrylic glazes. (This way) I focused mainly on drawing rather than painting. By this, I mean that the material load of color was not so dense as to cover the drawing and create other shapes. This (is) due to the fact that I wanted to give a more comic-book vibe to the whole set.”
Hetrick: “I…genuinely don’t know. That’s a hard one to ask an artist to say. Because what I think might be unique, someone else might have already done, and probably has, repeatedly. I think most people will say my color work, and I’d agree with that. Just bright, vibrant tones.”
Koelsch: “If I have time, I read or re-read some comics of that character to be true to it and ‘get in the zone’. My process is odd. I start with iPad roughs, pencil sketches, then cannibalize reference-toys, comics, photos that I shoot or find, even 3D backgrounds that I build. I actually print the approved sketch in the blue line onto the illustration board, and final art is painted in gouaches and airbrush (dries faster for deadline speed). When working on multiple pieces I let one dry and move to the others. Then each board is scanned, and digital art highlights added.”
Morgan: “I draw a lot of preliminary sketches and create multiple color comps to work out the designs, values and colors before starting on a final piece of art. That may not be unique, but it is my process. I paint in gouache, a water-soluble paint, so I have to be careful in layering colors to avoid re-activating underlying colors and creating mud.”
Palumbo: “It’s hard to call out my own work for being unique in one way or another, but my approach is to ground my scenes in reality as much as I can by thinking somewhat cinematically. I do a lot of prep work before I even begin painting to really explore the composition and story almost as a photographer who is witnessing the scene. I plan the space and light and form and textures all have a solidity and coherence, while also bringing the needed drama and energy for Super Hero pieces.”
Parsons: “I come from a fine art background, and I am trying to find that balance between the illusion of a believable world in my work, and fun illustration. Merging the two ways of thinking is where I like to play. I feel I still have a long way to go to figure out where it’s headed. I like edgier, darker, messier work but for these a more reserved, classy look felt right.”
Upper Deck: How did you first get into Marvel Comics?
Bianchi: “I was four or five years old and (found) out about Spider-Man and (the) Fantastic Four through Italian comic books and comic strips characters based TV show(s) on National broadcast; after that (it was) regular translated comic books through an Italian Publisher.”
Grego: “The 80s’ when I first saw (the Hulk TV series). The only way to see him without fear was to growl like him under the table. After that I had some comics and years later came the (90s’) TV series which caught my attention because of the type of shadows used and the animation. All of that was a great inspiration to draw, but I was not aware that I could (have a career doing) comics and illustrations until adulthood.”
Hetrick: “The X-Men cartoon-when it originally aired, hahah. Then I picked up a couple of random comics when I was at the store with my mom. The last issue of the Legacy Virus series is um…a particularly notable point to start off at, as an 8-year-old kid lol.”
Koelsch: “At 11-years old I begged my mom for Daredevil #225 at a grocery store rack, just to study the amazing art… It became a ritual.”
Morgan: “I’ve drawn since I was a child and read hand-me-down comics from my older brother. A lot of those comics were Marvel titles. The characters were new to me but the explosive action and high drama had me hooked immediately. I decided very early on I wanted to draw comics, I just loved them. I sent submissions, attended conventions, drew artwork for fanzines and was invited to work on staff at Marvel Comics… That lead to drawing many comics for many years. I am truly blessed to get to live my dream.”
Palumbo: “I’ve been into Marvel as far back as I can remember. My dad was a pretty avid collector from the early 70s’ up into the late 90s’, but he wasn’t precious about condition so he would let me and my brother read whatever we wanted. Spider-Man, X-Men, and Excalibur were probably my favorites.”
Parson: “I first got into Marvel comics through my favourite guy, the Hulk. I was obsessed since a toddler. Making a fan art pinup of his 60th anniversary with Kirby’s comic art was also what got me noticed by Marvel and Upper Deck, so I’m thankful for the big green galoot!”
Upper Deck: What do you hope fans take away from your artwork on the set?
Bianchi: “My own passion! I really do hope they can feel the pure joy, the deepest respect and love for these characters that to me is not even a mere job, but a true (blessing) and privilege.”
Grego: “I obviously hope that everyone enjoys seeing these images and being true fans, I imagine that these re-interpretations must be interesting. I also hope they can appreciate what I feel when creating my art, especially the emotions I feel in the action scenes.”
Hetrick: “Just that I had a lot of fun with them. Oil paints were a very new medium for me at that point, and there (were) definitely some learning curves but overall I hope folks enjoy them.”
Koelsch: “I hope the owner of my card art will connect with that character’s charisma and power- and maybe feel it (come) to life for them a little too. We all just share these great characters and world together- we artists are simply dancing around the vision that you feel in your heart about them.”
Morgan: “I hope anyone looking at my work feels the same joy and excitement I feel when creating it and when I first started reading comics. I want them to smile.”
Palumbo: “I hope that my love for the stories come through and that people who see them can tell they were painted by somebody who really cares.”
Parsons: “My wish is that fans will recognize the moments right away and trigger their memory of the historic comic art, and also see something new and special in how I presented it, hopefully honouring and memorializing it in a way. I hope it reinforces and reminds fans what a special connection they have with these characters, and how Marvel has entertained and enriched their lives in some way. I hope I’ve added to that meaning and importance for the fans, and even better for new fans that they will go back and discover the source material for the first time.”
Marvel Flair is out now on store shelves.
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