27 Facts About Bryan Hitch

The newsagent was next door to a cinema, and as Bryan Hitch explains, he could go straight from enjoying Christopher Reeve Superman films and other genre films to the store to buy Superman comics drawn by artists such as Curt Swan and Jose Luis Garcia-Lopez.

Bryan Hitch spent much time as a child drawing, which included and copying the art from comics.

Bryan Hitch entered the comics industry after submitting "Teeth Like Flint", an Action Force sample story he wrote and drew to Marvel UK, using a style that was fashionable at the time, which resembled that of another Marvel UK artist, Alan Davis.

Bryan Hitch worked with Simon Furman on Transformers and Death's Head.

Bryan Hitch did some work at Marvel Comics and DC Comics during the late 1980s and early 1990s, in particular his run on The Sensational She-Hulk, and continued drawing for Marvel UK.

Bryan Hitch had resolved to leave comics in order to pursue film and commercial work, and when he accepted the assignment of drawing Stormwatch for Wildstorm, he initially did so specifically to bankroll his transition to a different industry.

Bryan Hitch remained with Ellis to draw the Stormwatch spinoff book, The Authority, on which Hitch's trademark high level of detail and use of "widescreen" page layouts helped make the book extremely popular, and proved to be highly influential on industry art styles.

Amid his disappointment with his Justice League work, Bryan Hitch was offered work by CrossGen Comics, but a phone call by Marvel Comics editor in chief Joe Quesada paved the way for his next high-profile assignment, returning to Marvel with Neary, and joining Mark Millar on The Ultimates, a 13-issue maxiseries that debuted in early 2002.

Millar and Bryan Hitch continued their collaboration on the sequel series, The Ultimates 2, which premiered in December 2004, and on a 15-issue Fantastic Four run that began in 2009.

Bryan Hitch found his work drawing Millar's run on Fantastic Four, to be a better experience.

Bryan Hitch made a point of drawing on illustration board roughly twice the size of the Marvel standard, which allowed him to complete the artwork faster.

Bryan Hitch provided cover artwork for the November 2006 issue of the British film magazine Empire, for a cover feature on comic book movies.

Bryan Hitch was a character design artist for the Ultimate Avengers and Ultimate Avengers 2 animated films.

Bryan Hitch was a character design artist for the video game Incredible Hulk: Ultimate Destruction.

Bryan Hitch was brought aboard the project due to his rendition of the Hulk in The Ultimates.

Bryan Hitch was hired by the BBC as the concept artist for the 2005 relaunch of the Doctor Who television series, providing input into the design of the TARDIS interior set.

Bryan Hitch contributed designs to the starship piloted by Spock in the 2009 feature film Star Trek, for which director JJ Abrams has praised him.

Bryan Hitch illustrated six issues of the ten-issue miniseries Age of Ultron, which debuted in 2013.

March 2014 saw the debut of Bryan Hitch's creator-owned series, Real Heroes, which he wrote and illustrated.

In 2015, Bryan Hitch returned DC to write and draw Justice League of America, although DC canceled the last five issues it had solicited, ending Bryan Hitch's run with issue 38.

Bryan Hitch is particular about his studio workspace, which does not contain a TV or sofa, stating that such things belong in the lounge for relaxation.

Bryan Hitch uses an Apple iMac desktop computer, flatbed scanner and Photoshop to modify his artwork digitally.

Bryan Hitch begins with multiple rough sketches employing different camera angles on paper with a blue pencil, which tends to be less visible in photocopies or scans, and then select the desired elements from the rough sketch with a graphite pencil.

Bryan Hitch chooses not to put too much time or polish into this stage, preferring to work quickly, lightly and instinctively.

Bryan Hitch uses a mechanical pencil with 0.9mm 2H lead at this stage for fine outlines and detail work, and a traditional pencil for more organic work, including softer lines, shading large areas and creating more fluid motion.

Bryan Hitch believes the best results combine both the mechanical and the knife-sharpened traditional pencil.

For more free-hand hatching, Bryan Hitch uses a Gillott 1960 dip pen, though he prefers to use more solid areas of black to large amounts of rendering.