We are a Mexican publishing house and creative studio founded in 1994 by Will Eisner Award winner, Oscar Gonzalez Loyo, along with his wife, Susana Romero, and his father, Oscar Gonzalez Guerrero. We're are specialized in family and children-oriented comic books, contents, publicity mascots, storyboards, motion comics, graphic design, animation, scripts and edutainment products for both digital and printed platforms.

Our career includes collaborations and titles with companies such as Coca-Cola, Nestlé, Bongo Comics-The Simpsons, Televisa-Sesame Street, Warner Bros-Looney Tunes, Blue Demon Jr., Right Stuff Inc.-Astroboy, Bubble Gummers, Coqueta & Audaz, Disney Mexico, among many others.

Sunday, December 03, 2006

CLASSIC KARMATRON 1986-1991


In the Eighties, the making of a complete Karmatron episode was made in a week, I improvised the script, because I've always liked that technique; though I had all the general history in my mind, in the moment of doing the artwork I invented the situations. I drew and letered without any assistance.


My aunt, Maria Esther Loyo Roa and my mother Hilda Loyo de González did the color guide on vellum, with the old technique of colored pencils, in those days computers were not used, and this method was known as color separation, or in spanish, 'tapado de color'.

On the other hand, because of the weekly periodicity, 4 days were used to make the 32 art pages + covers, and 2 days for color; the course of the whole process was artistically directed by my father, Oscar González Guerrero.



The cover was made in a couple of hours (with art markers), early in the morning the day of the deadline, because on the fourth day of the art process I started working on the next issue so I could go ahead from my schedule and have an issue stock. Although during the 6 years that the classic edition was printed I always kept myself within two advanced future issues. For that reason it was complicated to get sick, the printer and the distribution waited for an specific delivery date or much money was lost in all the areas. It was fun to keep this working rhytm and a major challenge. There were 2 times when I got ill and had to have a surgery, and I called my friend from college (ENAP) and also comic colleague, Alfonso Sánchez to help me ou. He made two issues, and then my readers demanded that if another artist was to make the title they would cease to buy it. I took this very seriously and whenever I got sick I used the resource of repeting scenes in certain points in the story so I could have time and recover, with less pressure and being able to rest calmly during these periods.

The autohir made projects within ¡Ka-Boom! are written and drawn by the same person. As much there can be teams of writer-artist-colorist because we enjoy being able to be one man bands, being able to bond with each stage of the process is a delight as an author. You give 100% to your characters because, in a way, they become your sons. When we take part in projects where there are no artistic or spiritual goals, but marketing ones, more people take part in the process to take advantage of a production chain; though we prefer to follow the old mexican artist's old school that worked in a weekly (in the beginning they did daily comics, it was madness!) basis non-stop for many years. Your drawing ability was amazingly exercised over with all that workload, me and Horacio could experience the last years of this practice.



Those were the times!

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