West: Well, first off let me say that I am a new but huge fan of your work. I believe I first saw your art when buying Green Lantern Corps #34. I’d like to know if there were strict guidelines that your editors or Peter Tomasi/Geoff Johns lay down before you get to start a cover. What’s the process like from a cover artist point of view?
Rodolfo Migliari: Thanks man!
I work directly with the editors and they usually send me a brief description of what has to be shown on the cover and character references. To give you and example, in the case of the GL Coprs #34 cover they asked me to show Voz vs. Vice with the Sciencells in the background, and Vice spitting fire onto Voz burning his hair. I made a rough sketch and once approved they asked me to add Lyssa Drak, Schlagg-Man and Quintet in the Sciencells that were visible. And I painted the final cover. Usually is a very smooth process and working with Adam and Eddie is honestly a pleasure, they are very patient with me 
West: So were you recruited by Eddie or Adam to the Green Lantern titles, or was this a project you had your eyes on? Its perfectly fine if you don’t care about GL, by the way. lol
RM: haha! No, I love to be able to draw and paint the GL universe. Specially now with so many wonderfully design new characters and old ones coming back 
it’s a lot of fun. I got to work with Eddie and Adam through a very good friend of mine Sebastian Fiumara, he sent Adam some samples of my work and a few days later I was painting my first cover ever for DC Comics, the GL Corps #22 cover the one with Alpha Lantern Boodikka in it. I had worked for all the other companies but never for DC so thank you Adam and Sebastian!
West: So how did you originally get into the industry? I can only imagine how strenuous that must have been. We hear year’s worth of tales before getting that “break”. Is it any harder coming from Argentina?
RM: Well, I can’t say it was hard to break in for me, I guess I was lucky to be at the right place and at the right time. I got my first job during a comic convention here in Argentina in 2000, John Cassaday was a guest there and I got to meet him (one of the nicest guys you’ll ever meet) he showed my work to two editors that were also attending the convention: Bobbie Chase from Marvel Comics and Chris Warner from Dark Horse they both liked my work and probably a week after that Bobbie Chase hire me to paint a cover for a Captain America annual. Unfortunately, after that project she no longer worked for Marvel…hopefully it had nothing to do with my cover 
So, after that I just started to shamelessly send e-mails to all the companies looking for more work, eventually I got more work form Marvel and later on thanks to Chris Warner I did some Star Wars covers for Dark Horse as well. Internet is an invaluable tool for us foreign comic book artist
West: Just as valuable to us fans looking to track down our favorite creators. I’d hate to draw comparisons, but Alex Ross is one of the industry’s most acclaimed painters. Any chance we see a Migliari painted story like Ross/Waid’s “Kingdom Come” or any other issues? I know there’s a lot of Green Lantern fans that would love to see more of your art.
RM: There is no comparison between Alex Ross and me..he is just too awesome! I’ve tried to do fully painted interiors a few times but it takes me too long to finish a page. I can’t see it happening again anytime soon but you never know. For anyone interested there are a few painted interiors in the last DC Universe Holiday special in a Doctor Light short story written by Adam Schlagman and drawn and painted by me with a collaboration of another great friend and artist Max Fiumara.
West: Well how long is too long, we’ve waited months in between issues for George Perez’s art. Is it the painting in your work that seems time consuming or your initial sketching? Do you or have you felt that editorial mandated hand coming down upon you for tardiness?
RM: Probably a little more than a week per page…which is ridiculous I know! haha! That’s why I do covers! It’s the drawing, the painting and the gathering of reference material. When you are trying to achieve a realistic look especially when you are dealing with color, it’s always good idea to use photo reference, 3d renders or anything else that helps you get closer to the result you are looking for. Honestly, editors have been extremely patience with me. I have no complaints
West: Ha, neither do we. If you don’t mind me asking, are you DC Comics exclusive? I only ask to know if there’s a chance to see you doing covers for other heroes in the DCU. Is there a title or project out there that you would love to take?
RM: I’m not DC exclusive. But I’m really happy where I am
Yes, hopefully there is I’ve already painted a cover for Superman # 682 a while ago and maybe there will be more. It’s just a matter of schedule now.
I think every character presents interesting visual challenges. Batman has always been a favorite of mine.
West: That was a great Superman cover by the way. I love the different people, and of course the Green Lantern shirt in Metropolis. Wrapping things up with Green Lantern, can you give our readers a hint at the next cover on your table? Your latest work was a great John Stewart portrait, I believe.
RM: Thanks! The GL Corps #41 the John Stewart cover has some interesting characters in the background that you’ll see once the comic is out The next cover I’m working on is related to Blackest Night and is really cool who’s in it. I wish I could say more.
It’s been a pleasure! Thank you!
West: Thank you for your time, it was well spent.
RM: Any time man!