Nrama: How has the production process for Full Circle compared to other sequentials you've done? Was this a years-long endeavor on top of your ongoing cover work? The flat colors I committed to still allowed me to utilize color hold on certain areas to create a painterly effect, but I distinctly wanted to avoid contemporary computer color shading so this book could appear like it was done with bygone technology. To be like my painted work, a half-tone effect was achieved through a dry-brush technique I used extensively. Ross: I mostly restrain myself with pure shadow placements and black outlines by working with ink. Nrama: On that note, aside from the obvious mechanical differences, how does working in this style differ from the fully-painted realism you're mostly known for? To a degree, I needed to reinvent myself to present the Fantastic Four in a manner I hoped would connect to its beginnings without being a pure imitation.

Ross: Influences like the black light posters from the '70s and the general Pop Art feel of the '60s are something I've generally never connected to in my work before, but I saw a special reason it would help elevate this story. What inspired the style you employed for this story? Nrama: Speaking of the art on Full Circle, you haven't done sequentials in a while - and you've never done anything quite like this. I revised the loose drawings with tighter layouts, and the whole book could be read along with the script for my editors to review. I later composed a tighter working script to match the drawings but without the panel descriptions, one would need to write for another person to follow. (Image credit: Marvel Comics) (opens in new tab)

Fantastic four full circle