Roger Bonet: The Inks That Line the Ultimate Enemy

A comics interview article by: Charles Webb
Continuing our look into the artistic team behind Marvel’s latest Ultimate Enemy, Charles Webb sits down with inker Roger Bonet to discuss his work on the series as well as taking a look at his artistic and collaborative process.

You can also check out our interview with penciler on Ultimate Enemy, Rafa Sandoval, by clicking here.

This interview is presented in our Native Response Format.


-Alex Rodrik, Editor of Features and Interviews

Charles Webb: You’ll be inking the upcoming Ultimate Enemy – how did this project come about for you?

Roger Bonet: Since Hercules, Rafa Sandoval and I have been a set team for Marvel. We were both approached to do this project and when we were informed that we would be working work with Brian Bendis it was a truly exciting moment for the both of us. We both really enjoyed Ultimate Spider-man and we’ve been greatly inspired by The Ultimates.
Desde “Hércules” conseguí formar equipo con Sandoval consiguiendo en estos momentos ser un equipo cerrado para Marvel.

Pero es cierto que cuando nos informaron de que íbamos a trabajar con Bendis fue un momento muy bueno para los dos, llevábamos tiempo disfrutando de “Ultimate Spider-man” y nos avía influenciado mucho “The Ultímates” en nuestro trabajo.

CW: You’ve provided inks to Rafa Sandoval’s pencils over in Avengers: The Initiative -- have you two worked together on other titles?

RB: Sandoval and I teamed up for Marvel for two issues of Marvel Adventures Iron Man, which led to a number of other inking jobs, and after getting compliments on a few pages of Warbound, Marvel realized what a good team we were together. Since then, we’ve been nonstop: Incredible Hercules, Young x-Men, Mighty Avengers, Avengers – The Initiative, Made Men 2 (digital comic), and now Ultimate Enemy.

We’d actually worked together before, for Spanish publishers. We’ve known each other since we were 16 years old and we’ve really come to a point where we understand each other’s work to a t.
Entre con Sandoval en Marvel, hicimos 2 números de “Marvel Adventures Iron Man” y después el realizo unos números de “Hulk” con otros entintadores, fue después de realizar unas páginas de complemento a la colección “Warbound” que Marvel se fijo que formábamos un buen equipo de trabajo, desde entonces no hemos parado: “Incredible Hercules”, “Young X-men”, “Mighty Avengers”, “Avengers - The Initiative”, “Made Men 2” (digital comic) y ahora “Ultimate Enemy.”

Ya trabajábamos antes juntos para editoriales Españolas, nos conocemos desde los 16 años y ya conocemos nuestro trabajo a la perfección.

CW: How‘s the collaborative process like with you two?

RB: Before getting started on a project we talked about what tone we want to give the comic and the graphic and storytelling tactics we intend to employ. All of this happens with the two of us, sitting in a café while sketching out our ideas and seeing what we can really bring to the comics.
Then, every 3 or 4 days we meet and he gives me the pages to be inked. We also always discuss the individual pages and he gives me any notes he may have about how he envisioned the inks.

In case it’s a rush, some aspects of the work are left for me to finish up or make any changes that were requested (provided they’re within my means).
Antes de empezar una colección hablamos de qué tipo de aspecto vamos a darle a la colección y plantamos los aspectos gráficos y de storytelling que vamos a trabajar, (todo esto en una cafetería mientras creamos bocetos de nuestras ideas y buscamos que podemos aportar a la colección).

Después quedamos cada 3 o 4 días para que recoja las páginas y poder entintarlas, siempre hablamos de la página y me da las indicaciones sobre el trabajo.

En casos de mucha prisa el deja algunos aspectos del trabajo para que los termine o que realice los cambios que nos soliciten (siempre que esté dentro de mis posibilidades).

CW: Could you tell our readers a little about some of your past work?

RB: I started working at Marvel Italy where I met Paco Diaz Luque and Mark Bagley (inking some covers unreleased in the USA: from Spider-girl), it’s also where I met up with Rafa Sandoval, again. After that I worked at some Spanish publishers, working on all sorts of different projects.

I didn’t start working for American publishers until I did some work for Avatar Press, inking different covers for Lady Death and Shi.

After working in the states for a few years Sandoval approached me about his desire to work for Marvel. And thanks to Shon [C. Bury], our current representative, we were able to get in the door and get to work on Marvel Adventures Iron Man.

Marvel really loved the way we worked together and, as I said earlier, they’ve kept us a team ever since Incredible Hercules.
Empecé trabajando en una editorial italiana llamada Marvel Italia donde coincidí con Paco Díaz Luque , Mark Bagley (entintando unas portadas inéditas en los U.S.A: de “Spider-girl”) y donde conocí a Rafa Sandoval.

Después de esta etapa estuve trabajando en editoriales españolas realizando todo tipo de trabajos.

No empecé en el mercado editorial Americano hasta trabajar en Avatar Press, donde entintaba diferentes portadas de “Lady Death” y “Shi.”

Después de unos años trabajando allí mi amigo Sandoval me informo de su idea de trabajar para Marvel y gracias a Shon (nuestro actual representante) pudimos entrar en Marvel para realizar un “Marvel Adventures Iron Man.”

Marvel les encanto nuestro trabajo y bueno como ya he comentado fue un no parar a partir de la colección de Hércules asta ahora.

CW: What sort of styles and influences do you bring to your work?

RB: Jesus Merino’s inking over Carlos Pacheco pencils had a large impact on me. For a lot of artists in the ‘90s that style was the one to follow.

I also really like Paul Neary and Cam Smith. Through them I discovered the type of brush I use today in my works.
Fue muy impactante ver las tintas de Jesús Merino para Carlos Pacheco, para muchos artistas en los 90 en España este equipo era el referente a seguir.

También me gusta mucho Paul Neary y Cam Smith, con ellos descubrí el entintado de pincel que es con lo que trabajo en la actualidad.

CW: Were you into the Ultimates line before working on this project? If so, what stood out to you?

RB: I am a fan. Actually, I’m in love with Ultimate Spider-man. I think The Ultimates by Mark Millar and Bryan Hitch has changed the world of comics in many ways. Mainly in the type of stories being told, returning Marvel a unique style of superhero tale; one much closer to the current political and social climate. Hitch’s style serves as guide for many of today’s artists.
Soy todo un fan, estoy enamorado de la colección “Ultimate Spider-man.” Creo que el número “The Ultimates” de Mark Millar y Bryan Hitch ha cambiado el mundo de los comics en muchos aspectos. Principalmente en el tipo de historias, devolviendo a Marvel un estilo único de contar superhéroes, más cercana a la actualidad política y social. El estilo de Hitch es en la actualidad es referente de muchos artistas.

CW: The Ed McGuiness covers seem to be selling a book with a bit of humor in it – but the solicitations make it sound pretty sinister. Could you give a little detail about the tone of Ultimate Enemy and what you’ve tried to bring to the book?

RB: I think the cover fools a lot. But this comic is about intrigue, and at that it hits perfectly. I think Ultimate Enemy is more like a mystery story; it has plenty of action and intrigue while we search to find who’s been attacking our group of heroes.
Creo que la portada engaña bastante (pero este número busca la intriga y ese cometido si lo refleja a la perfección.), creo que “Ultimate Enemy” se acerca más a una historia de misterio, tiene mucha acción e intriga en busca de saber quien está atacando al grupo de héroes que forman este número.

CW: What’s the process like – working from home and communicating with New York-based writers and editors?

RB: Pretty smooth... We don’t suffer from much trouble from it. Now everything is handled by email, the communication is flowing, all emails are forwarded to everyone so everybody knows and understands everything reported or discussed.
No, en la actualidad todo se gestiona por coreo, la comunicación es fluida, todos los mails están reenviados a todos para saber y conocer todo lo que se informa o se comenta.

CW: Any tricks or tips you’ve picked up during your stints on these high-profile projects?

RB: My only trick is working intricately with textures and effects. A lot of this is done through computers and it helps the work take on a more elaborate feel, which I believe gives it a truly unique look.
Mi único truco es trabajar bien las texturas y efectos, se que actualmente este tipo de cosas lo hacen por ordenador, pero el trabajo adquiere un aspecto más elaborado, que a mi parecer da un carácter único al trabajo.

CW: Will you be doing anything else in the Ultimate Line in the coming months?

RB: We are in the middle of it now. I know that Bendis wants to work on more projects with us, but it’s all determined by how much time they give us to produce the work. But I must say that I’ve been having a great time working in the Ultimate Universe. :P
Estamos en ello, se que Bendis quiere trabajar en mas proyectos con nosotros, pero todo lo determinara el tiempo que nos den para poder realizarlos, aunque se está muy bien trabajando en el Ultimate Universe. :P

CW: What other projects do you have coming up?

RB: I know that Bendis wants us to do more miniseries and I think we may end up doing the miniseries Ultimate Mystery. But this depends on how tight we are with Ultimate Enemy. So I suppose it will be a "Mystery" till the end of the month.
Sé que Bendis quiere que ágamos mas miniseries y creo que acabaremos realizando la miniserie “Ultimate Mystery,” pero esto solo dependerá de lo apretado que este la miniserie cuando acabemos el “Ultimate Enemy,” así que será todo un “Mystery” hasta el final de mes.

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