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Image:Road Kill BTD detail.JPG|"I grabbed Charlie from where she is chatting to the [[Sheriff Davidson|sheriff]] and the [[Lloyd|deputy]] and flipped her. I grabbed a zoom in shot of Hiro and Ando. I stole a Hiro from somewhere else and the [[Sylar]] is from his own shot."
Image:Road Kill BTD detail.JPG|"I grabbed Charlie from where she is chatting to the [[Sheriff Davidson|sheriff]] and the [[Lloyd|deputy]] and flipped her. I grabbed a zoom in shot of Hiro and Ando. I stole a Hiro from somewhere else and the [[Sylar]] is from his own shot."
Image:Sylar's eidetic memory - Jason Badower version.JPG|Jason [[:Image:Memory for trucking.JPG|redrew Sylar's head]] for this shot. "It was good, but it wasn't good enough ... It's more menacing, but I just didn't like it."
Image:Sylar's eidetic memory - Jason Badower version.JPG|Jason [[:Image:Memory for trucking.JPG|redrew Sylar's head]] for this shot. "It was good, but it wasn't good enough ... It's more menacing, but I just didn't like it."
Image:Road Kill bnw page 4.JPG|Jason said he was going to headbutt his monitor because of all the cop cars he had to draw. He also said that after panel two, he simply forgot to draw the helicopter again. His colorist kept the continuity by placing flood lights in subsequent panels. Additionally, he credits her with "adding a foreboding sense of drama".
Image:Road Kill bnw page 4.JPG|Jason said he was going to headbutt his monitor because of all the cop cars he had to draw. He also said that after panel two, he simply forgot to draw the helicopter again. [[Annette Kwok|His colorist]] kept the continuity by placing flood lights in subsequent panels. Additionally, he credits her with "adding a foreboding sense of drama".
Image:RK bnw page 5.jpg|According to the script Jason received, "The driver's door is open and Sylar is [[Telekinetic]]ally moving himself to a safe place against the mountain." Also of note, Jason drew a particularly thin branch to show that Sylar is holding his own weight with his telekinesis.
Image:RK bnw page 5.jpg|According to the script Jason received, "The driver's door is open and Sylar is [[Telekinetic]]ally moving himself to a safe place against the mountain." Also of note, Jason drew a particularly thin branch to show that Sylar is holding his own weight with his telekinesis.
Image:RK bnw p6.JPG|Jason was disappointed that he did not draw [[Zane]] behind a security door since in ''[[Run!]]'', [[Zane Taylor's home]] has a security door. However, this is the page of which he is most proud; he feels the likenesses of Zane and Sylar are particularly well-captured.
Image:RK bnw p6.JPG|Jason was disappointed that he did not draw [[Zane]] behind a security door since in ''[[Run!]]'', [[Zane Taylor's home]] has a security door. However, this is the page of which he is most proud; he feels the likenesses of Zane and Sylar are particularly well-captured.

Revision as of 16:13, 5 March 2007

Jason Badower
About
Title Artist
Date of birth 1975
Origin Melbourne, Australia
Website

Jason Badower is a comic artist from Melbourne, Australia. He is the illustrator of Top Cow's forthcoming Zero G.

Graphic Novels Created

Trivia

  • According to his blogger profile, Jason is also a personal trainer and martial artist, and owns two personal training studios in Australia.
  • In 2004, Jason was nominated for four Ledger Awards for Killeroo Book 2.
  • According to his blog, Jason was hired by NBC on a Saturday afternoon, and created Road Kill by the following Friday.
  • Jason says he draws digitally with a Wacom tablet.


Gallery

  • Jason first drew three a layout pages for Road Kill to be approved by NBC.
    Jason first drew three a layout pages for Road Kill to be approved by NBC.
  • Jason felt his layout made the comic easier to read in PDF format; NBC was concerned there was too much unused space.
    Jason felt his layout made the comic easier to read in PDF format; NBC was concerned there was too much unused space.
  • Jason traced over screenshots from various episodes in Photoshop to created the likenesses of Mr. Bennet and the Haitian.
    Jason traced over screenshots from various episodes in Photoshop to created the likenesses of Mr. Bennet and the Haitian.
  • Jason says, "Doing layouts burns my brain out. Trying to conceive things from all possible angles is a real nightmare."
    Jason says, "Doing layouts burns my brain out. Trying to conceive things from all possible angles is a real nightmare."
  • Jason tried to use more space to address NBC's concerns.
    Jason tried to use more space to address NBC's concerns.
  • Jason said he got "a huge buzz" from drawing Charlie, Hiro, and Ando. He is especially proud of Hiro's likeness.
    Jason said he got "a huge buzz" from drawing Charlie, Hiro, and Ando. He is especially proud of Hiro's likeness.
  • "I grabbed Charlie from where she is chatting to the sheriff and the deputy and flipped her. I grabbed a zoom in shot of Hiro and Ando. I stole a Hiro from somewhere else and the Sylar is from his own shot."
    "I grabbed Charlie from where she is chatting to the sheriff and the deputy and flipped her. I grabbed a zoom in shot of Hiro and Ando. I stole a Hiro from somewhere else and the Sylar is from his own shot."
  • Jason redrew Sylar's head for this shot. "It was good, but it wasn't good enough ... It's more menacing, but I just didn't like it."
    Jason redrew Sylar's head for this shot. "It was good, but it wasn't good enough ... It's more menacing, but I just didn't like it."
  • Jason said he was going to headbutt his monitor because of all the cop cars he had to draw. He also said that after panel two, he simply forgot to draw the helicopter again. His colorist kept the continuity by placing flood lights in subsequent panels. Additionally, he credits her with "adding a foreboding sense of drama".
    Jason said he was going to headbutt his monitor because of all the cop cars he had to draw. He also said that after panel two, he simply forgot to draw the helicopter again. His colorist kept the continuity by placing flood lights in subsequent panels. Additionally, he credits her with "adding a foreboding sense of drama".
  • According to the script Jason received, "The driver's door is open and Sylar is Telekinetically moving himself to a safe place against the mountain." Also of note, Jason drew a particularly thin branch to show that Sylar is holding his own weight with his telekinesis.
    According to the script Jason received, "The driver's door is open and Sylar is Telekinetically moving himself to a safe place against the mountain." Also of note, Jason drew a particularly thin branch to show that Sylar is holding his own weight with his telekinesis.
  • Jason was disappointed that he did not draw Zane behind a security door since in Run!, Zane Taylor's home has a security door. However, this is the page of which he is most proud; he feels the likenesses of Zane and Sylar are particularly well-captured.
    Jason was disappointed that he did not draw Zane behind a security door since in Run!, Zane Taylor's home has a security door. However, this is the page of which he is most proud; he feels the likenesses of Zane and Sylar are particularly well-captured.
  • Jason says this is his favorite drawing of Sylar. However, he first drew Sylar wearing a hat. Realizing that Sylar doesn't wear a hat in Virginia Beach, Jason retouched the panel at the last minute.
    Jason says this is his favorite drawing of Sylar. However, he first drew Sylar wearing a hat. Realizing that Sylar doesn't wear a hat in Virginia Beach, Jason retouched the panel at the last minute.

Notes about Jason's drawings are taken from his weblog.

External Links


  Crew edit

See Also: Series Crew • Reborn Crew • Graphic Novel Crew • Webisodes Crew • Evolutions Crew • Countdown Crew • Cast

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