(interview conducted by taradaga!)
tara: Firstly, thank you ozoneocean for taking the time to do the interview!! Secondly, I hope your readers will enjoy it.
Question 1
tara: All right, all right, hm, first question.
If this was going to be the only question in the interview, what would you want everyone to know about you?
ozoneocean: HA!
Well, hmm…
What would I like everyone to know about me? Pictures tell a 1000 words so…
This:

and this:

Question 2
tara:Oh ho! Very nice. But luckily for us there will be more than one question. Second question: Pinky TA is a beautiful, colourful, and sexy comic. Thank you for sharing it with the DD community. What can you tell us about your overall experience making the comic?
ozoneocean: Why thank you Tara, that is a really wonderful compliment! :)
My overall experience of making the comic…
Well I'd say: Experimentation.
It's all a very long, slow, drawn out experiment into what I'm capable of art wise. Trying subtle new things and seeing what I can do with my artwork all the time. I experimented with popularity for a while too: Pinky TA rose through the ranks and got buzz all over the net. It was interesting reading reviews and things, but I'm my own worst critic so none of it was ever too helpful, just entertaining and mildly flattering that they'd review the work in the first place.
But the attraction of popularity wanes. I'm just happy to keep producing it, however slowly.
Yes; experimentation. :)
Question 3
tara: Tis the truth!
And that's a great way of looking at things. I love that you can see the experimentation on every page of Pinky TA. Every page seems to tackle new problems in new ways which you talk about in your very detailed comments.
In your comments you often talk about the science behind the many machines - I remember reading one about the very technical details on how Cc's scuba mask might work - and you have very accurate (seems to me) depictions of ships. You obviously put a lot of thought into your comic and I was wondering how much of this stuff did you know before you made Pinky TA, or if you looked a lot of it up for the comic? So kind of a chicken or the egg question.
ozoneocean: Ah, that's interesting! :)
Hmm, well I know a lot of general stuff about a lot of things, but not too much specifically about anything. With the stuff in my comic I would mainly put in there what looked good, so aesthetics were the main force.
But in order to have things like that in the story, they have to work and I have to know them inside and out to know how they'll fit and what they'll do. For the main battleship Buccaneer for example I needed to know the detailed layout of the ship, inside and out. It was based on the British WW1 Queen Elizabeth super dreadnought class, so I was abe to use schematics as well as old photos to work it out:


It's not just a ship, but a location and a layout, so you have to know it to know where someone is walking to and from within it, what direction the light will come from if they stand in a certain place, how they get from here to there, etc. It's quite complicated.
But then I'm addicted to detail, so when I draw something new I'll research it to the nth degree, finding out when it was made, who made it, why it was made, collect hundreds of images of it, videos of it in use, and maybe even get examples of the real thing.
When I first came up with Pinky for a painting series in University I had to go out and buy the exact belt she would have, the boots and even a pair of big baggy army pants. Not so I could play dress-up or even paint from life, but so I could touch and feel this stuff and understand it better! :)
And of course for more imaginative things like Cc's Breather mask, her flare gun attachment on her pistol, Pinky's scout Mecha, her flame rifle etc. I can't just put them in the comic, they have to work too… So I'll spend time thinking about how best to do that, thinking about the science so that they're plausible…
Many people think that Pinky's scout mecha was based on the Star Wars ATST, but I didn't even know what that was called until people claimed that. The truth is that Two legged mecha is an extremely common theme is Sci-Fi war art, especially in Manga. But I still had to work out how the legs would function with their complicated walk, and how that would move the whole machine- how they'd fold up for transport and the submarine mode. And much much more… Fo them I started with the idea of organic looking Two legged mecha (like a Zentradi battle-pod from Macross), then thought about 1920's technology which meant it had to be diesel electric powered. It also had to be armoured fairly crudely, so the futuristic manga look had to be scaled back for more simple angles and heavy armour plating. The weapons had to be simple- just rockets and machine guns. The shape had to be fairly streamlined though for the underwater role. Then there were the challenges of what the inside of the cockpit would look like and what it would be filled with…

Hahahaha, I could go on for days!
Question 4
tara: Wow! That's cool. Reading that I feel kind of lazy! Ha ha. I especially enjoy that you would have to buy everything you would be painting. With all that you think about, with all you into the comic, how much time does it take you to finish a single page? What is your working process like?
ozoneocean: How much time to finish a single page varies. If I'm doing it straight out, dedicated, then I can get a page out in from 5 to 3 days on average. It helps that the previous page informs the next one (as you'd expect), not just in story, but in the colour palette, the lighting effects, the character appearances, any machines or objects that carry over, and the landscapes and backgrounds! That's very important because with the way I work on pages I forget most of the detailed and general stuff like that as I go and have to look at the last page for reference constantly!
So that means when I change settings- with different lighting, palette, scenery etc it takes me longer to set up because I have to work all those out from scratch. :(
OK, the image bellow explains that aspect. In it I've had to use previous images of the scout mecha to work out the colour palette and the specific arrangements of the patterns covering them.

For my general process, I do a bunch of rough thumbnail sketches on a single document that I think best represent the action or story I want to show (all work is 100% digital in Photoshop). Then I'll rearrange them, resize etc to come up with the right alignment, then I work out the panel structure. After that I make a white layer over the top that fades out the art bellow, lock it, and make a new layer. I'll draw over the top of the first art there, refining it down. I'll repeat that process till I'm happy, flipping the work and working on it in reverse to see where I've made bad errors. After that I make a new document with the work, only keeping the final image in it, setting that to “multiply” and colouring the layers bellow it, plus one effects layer on top. I start with the background layer, add a details layer and lastly I do the figures- lighting a colour of the figures is heavily controlled by the backgrounds so it's important to do them last.
Over the top of that and the line art I add effects like lighting blurs for explosions or sun glare.
Bellow is an abridged version of the process. The final colour art here wasn't the result I wanted, but I had this saved in the separate stages so I'm using it to show :)

Question 5
tara: 5-3 days? That's amazing. And the pages turn out looking so amazing. Maybe I should start spending that long on my comic pages, ha ha.
I was curious as to what kind of influences you have, if any. What, over the years, has influenced your art and story-telling? Or specifically, what other art or books etc. have influenced Pinky TA's art and story-telling?
ozoneocean: Oh I spend even longer on pages recently… Mainly because life gets in the way and I can't work straight through.
Oh I have no influences. It's all internal. I create from nothing at all, like a God! :)
…No, well, I have my influences of course, like most people. And that changes as I go. I made the character and started the story in about 1997 I think, while doing my BA in art, a painting major.
Back then I was interested in the concept of narrative in painting, because story telling as a type of communication in my work had always been important to me. At the time I was just getting into anime, I really loved Shirrow Masumuni. Nothing I saw in anime was as cool as his stuff… I loved Ghost In the Shell, Appleseed, and Dominion Tank Police. I even got my hands on some of his manga. I was getting into the internet then too and had seen more of his work and that of others online. I was quite taken with this fascination in a lot of anime and manga with tough, sexy female protagonists and how they were used as a contrast with the dire situations they were placed in.
I was also watching quite a lot of Aeon Flux, The MAXX, and reading a lot of Druuna in some Heavy metal comics a friend had lent me.
This is what came out and it was the start of Pinky TA:

Pinky owes her buttocks to Druuna, and her sexy costume to Major Kusanagi, Aeon Flux, and Julie from The Maxx. ;)
(I wonder if I should include pics of those for you? ^_^)
As things have gone on I've been influenced by other things I've read and seen. Every good book I read tells me how better to write a story, every good film I see tells me how to pace better, ever good commercial action film or anime tells me how to make exciting, emotional, sexy scenes. I take in all the good stuff I see like a black hole! Just like my research material, except that stuff is all sitting in my brain, waiting to be used :)
Question 6
tara: I loved Ghost in the Shell as well! Very cool. And I love those paintings you did - you seem to be telling the Pinky TA story using many different mediums. I've also seen your Pinky TA mini-movies. Would you maybe one day like to do a longer movie about Pinky TA?
ozoneocean: Oh those lol! I should really condense them into one and trim off all the fat- just to get it nice and tight and simple. People get bored by the long bits where there's just music and an animation loop…
Naw, there's no way I'd want to do a long Pinky TA movie or animation. Not by myself anyway. If it was a team thing, or a comercial thing (I can dream), then I'd be completely for it! I'd love to see a live action Pinky TA thing (wouldn't we all love live action adaptions of our work?). If I ever go to a big con I'll pay a couple of models to dress as my characters and tout for me, that'll be the next best thing! :)
But as to movies… Ooo, I better get off of that subject or I'll be stuck in dreamer mode. ^_^
Suffice to say I think it'd be easy to make a cool Pinky TA movie. I'm sure I could write an exciting treatment for it. It wouldn't be a clever movie, but it'd be fun.