I do the pencilling and inking in Manga Studio (now branded as Clip Studio Paint), and all the colour work in Photoshop. What tools and programs do you use when you’re working on Saga?Fiona: I work on an iMac with a Cintiq pen display. You’re also well known for creating in a digital medium. BAM: Fiona, you effectively do all of the artwork for Saga from illustrations to lettering. In my mind, they were going to be a fairly traditional duo of amoral bounty hunters, but Fiona instantly imbued them both with so much sympathy and complexity that I knew they were going to be much more important to Hazel’s story than I had originally planned. The most significant time was when she sent over her very first image of The Will and Lying Cat. BAM: Are there any specific times something came back from Fiona that changed something you planned?īrian: This happens a lot. It’s a very tight collaboration, but we also have enough trust to give each other a lot of space to do our respective jobs alone in our quiet rooms. I then write pretty detailed scripts for her that provide all of the dialogue and describe how I see each panel, but Fiona always has plenty of freedom to make changes or reinterpret my suggestions, since she’s much smarter than I am. I also like to know what Fiona loved or hated drawing in previous issues, and what she might like to tackle next. Before each new storyline, Fiona and I talk on the phone (or in person, if we’re at a convention or something) about the general themes we’re going to explore with the next arc. Can you tell me a bit about yours and Fiona's creative process?Brian: For any of you process nerds out there, we describe this in obscene detail in the back of our first hardcover, but here’s the condensed version of how we work.
Each collaboration seems a bit different. BAM: Brian, I’m really interested in the creative process between artists and writers.
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