The way I get into it is I sit with a pencil and paper. I think, ‘Oh, that feels good. It’s nice to write.’ Then I take that as far as I can. I try to find my drawing style. In theory, that’s pretty easy to do, especially now, when you have so much access to so many resources.”
In the early days of his career, Bixby drew mostly “trying to get as many good, nice-to-hang photos out of that paper,” he said.
“Once you get to a certain point, you realize that you can put a face to a body and make something really cool out of a pencil,” he added. “You can really use it more than I think anybody else can. And you might realize that some of them you don’t get to use at all. Some of them aren’t used for the story because they take way too long to be good.”
His approach has evolved. Nowadays, he tries to draw as much as he can “from the bottom up” — using his fingers and pen against a palette rather than, say, a brush that gets used for just a few characters. On a page, these small touches can give an image a richness and depth Bixby has seldom witnessed.
“When I was at the top, I would just go back and forth, drawing from memory. Here, if you want to do your own pencil lines and your own character in the background, go right ahead. I never wrote for a character so much as to give my drawing a character. That wasn’t how it was. It made it all look nice.”
Bixby has done his share of sketching and drawing — “I didn’t go as far as you think.”
For more than a decade now, Bixby has continued to work on other projects: for movies and TV, and a novel, but also for television series such as “Star Trek: The Next Generation” and “Alias,” and for comic books such as “Black Adam” and “Batman: Son of Batman.” He remains a member of DC Comics, but he now does mostly for Marvel Comics, writing “The Flash” and “The Inhumans.” Bixby says he considers both the characters and the comic books to be his “favorites.”
“I really like the idea of the ‘Flash’ universe, where you have a very different kind of universe, much like ‘