Masters of Ink #10 - Tony Moore answers 12 questions
July 11, 2008
If you're new here, you may want to subscribe to my RSS feed. Thanks for visiting!
Over the last few months we spoke with an incredible line-up of comic creators, poster artists and illustrators. Here’s one of the twelve interviews.
By Richard Serrao & Jason Thibault
12 Questions with Tony Moore
Tony Moore first came to my attention as a comic book artist during the first year of The Walking Dead. Richard sent me over a few copies in the mail to check out and I was immediately taken with Tony’s style. He drew the first 6 issues and stayed on as the cover artist through issue 24. He has made his mark as serious creator of genre works and has continued on with The Exterminators (with Simon Oliver) and Fear Agent (with Rick Remender).
First professional work (piece / year) and maybe a quick story behind it.
I don’t know if you can call it “professional” but my first book was Battle Pope, which Robert Kirkman and I released in 2000, under our independent label Funk-O-tron. We’d been friends since we were 12, which at that point had been about 8 years. He had some ideas and wanted to try publishing and he gave me a call. I was finishing my freshman year of art school and was down to try anything. It was a learning experience, and led to the job which allowed to quit my day job at UPS, which was Masters of the Universe’s Icons of Evil:
Beastman, a one-shot featuring the He-man villain.
Self-taught or formally educated? (or mixture of both, mentors etc…)
Much of what I know about comics was from obsessively reading and studying them. as far as comics illustration goes, I’d say I’m self-taught. But, I did go to art school, where I majored in Drawing and endeavored to learn as much about fine art as I could. I took a lot of Life Drawing classes, as well as Painting and Printmaking. I think I learned a lot, most of which translated into some insight into drawing comics in one way or another, if not directly.
Tools of the trade: Taking a quick glance over at your pens, brushes etc…what tools have you mainly been using over the last few years?
My standbys are Pilot v7 pens, Micron pigment liners (sizes 005, 01, 03), and round sable watercolor brushes. I used to buy small brushes, like size 0 or 2, but I recently fell in love with this ratty cheap size 8 brush. It’s giant and ugly, but it holds a load of ink, and has a miraculously fine point, which allows me to do a ton of work with it. Also, I like those Sharpie white poster paint pens for small corrections and negative drawing.
Favorite brand of ink:
Yasutomo & Co Sumi ink. Doesn’t appear to have shellac in it, so it’s easy to work with and washes out of my brushes if I carelessly forget to wash them.
Type of paper:
Strathmore 500 2 ply. All rag content, holds up to some abuse, and I can run it through my printer.
Which artists or creators do you return to for a quick boost of inspiration? Who are the masters of ink?
I keep a lot of EC comics around. Jack Davis, Wally Wood, John Severin, Will Elder.. those guys are my heroes. I also keep Joe Kubert, Moebius, Robert Crumb, and Guarnido nearby, as well. All these guys draw their asses off and have been a pretty definite influence on how I draw.
Once a client has handed off an illustration job to you, how do you first tackle the job. Could you give us a quick overview of your process?
I read the script and break down the pages at 2” x 3”. Working this small allows me to focus on the storytelling and not get hung up in needless details. Then I scan those, and add gutter spacing and resize panels where needed, composing my final layout in Photoshop, where I print it out in 6% Cyan at 10” x 15”. Then, I lay in some loose pencils to get started and start inking. I do a lot of the drawing work in ink, and rarely do a lot of tight penciling beforehand. Sometimes I’ll have someone else inking me, in which case I spend quite a bit of time penciling all the details in instead of inking it. This usually only saves me a couple of hours, but a couple hours on each page and 22 pages per book, sometimes it adds up to quite a bit of time saved. Then, finally, I scan the pages, and in the cases where I have an inker, I mail them off to have the book finished.
What’s currently sitting in your mp3 / CD player / turntable?
A lot. I listen to music all day every day. I really love honkytonk, outlaw country, and alt-country. A lot of today’s new stuff has gotten so pop, it’s just soft-rock garbage. Country’s a natural fit for me, because it’s storytelling. Johnny Cash, Shel Silverstein, Waylon Jennings, Kris Kristofferson, Steve Earle, Neko Case, Gram Parsons, Southern Culture on the Skids, Buck Owens, Allison Krauss, Flatt and Scruggs, and all 3 Hank Williams, just to name a few. That’s not to say I don’t mix it up. I love the guys on the Rhymesayers label, and have a big collection of Norwegian black metal. Two of my all-time favorite bands are They Might Be Giants and Queen. My random playlists sound like crazy person programmed them.
What’s hanging on your walls and what is your favorite piece of art that you own (not created by you)?
Surprisingly little hanging on my studio walls, actually, but my favorite piece of artwork I own is the original painting of Fear Agent done by my hero, Jack Davis. The guy is 82 and still doesn’t miss a beat. It’s absolutely gorgeous, and to have an original EC comics master draw my character is a career high. I’m pretty sure it doesn’t get any better than that.
Last novel you read and last movie that you saw (that you’d recommend)?
Unfortunately, I can’t remember the last novel I read. typically if I’m awake enough to read and comprehend, I figure I should be using the energy to work. The last book I read on a whim was The Stranger by Camus, and it was years ago. I bought The Hot Kid by Elmore Leonard, and never got more than a handful of pages into it. The last movie I watched was High Plains Drifter, which is a load of awesome. The last new movie I watched was probably No Country For Old Men, which I also enjoyed greatly.
Current and upcoming projects.
Right now, I’m working on Fear Agent: I Against I, which is a 6 issue arc of space western madness on the book I co-created with Rick Remender. Beyond that, nothing is set in stone, but I have talked to some editors about some potentially tasty projects.
What would you tell an aspiring artist who is working his ass off but still needs and wants to break through to the next level?
Keep at it and chase the dream. Always be studious and working to improve yourself. When you’re complacent, you’re dead. Working in comics is kinda like that fight scene in Cool Hand Luke, where Newman gets the hell beaten out of him but won’t stay down. If, like me, you’re too dumb to stay down, then don’t compromise, either. You only get one go-round on this ride, so make it a ride worth taking. Also, don’t mistake working on a “big” book or that “next level” for an
answer to happiness. A lot of guys find that these dream books that look like an oasis on the horizon are actually just mirages, slaving away on someone else’s book with no control or stake in it to show for it. If it ain’t what you want to do, then figure out what makes you happy and go do it, because you never know when your time is up, and if you put off your own happiness, you might never get the chance to pursue it.
For further reading head on over to Tony’s Myspace page or his website
More Masters of Ink:
Jacen Burrows
Erik Rose
Chris Weston
Jim Blanchard
Nathan Fox
Tom Denney
Richard Serrao
Dan Mumford
Ryan Jones
Rufus Dayglo
Kody Chamberlain
Chris Weston stops in to talk about art & comics
July 10, 2008
By Jason Thibault
I’ve been reading comics drawn by Chris Weston for over a decade now. Whether it’s a Garth Ennis penned war story or a certain chapter of Grant Morrison’s Invisibles, I’ve always been more than impressed with the amount of sheer skill and detail that Chris puts into a page. This interview was a joy to put together as I got to revisit artwork and certain comics that have brought me a lot of pleasure over the years. Chris strikes me as a creator who carefully picks his projects and as a result has gotten to work with some of the best writers in the biz.
You’ll find that he’s infused the answers with that good natured humor that he’s known for.
First professional work (piece / year) and maybe a quick story behind it?
My first published work was a Judge Dredd pin-up I painted as a speculative piece. This was presented to 2000ad and they bought it and ran it on the back cover. I was instantly offered a six-page Judge Dredd story, “Night at the Circus”… and did a spectacularly bad job on it. But it wasn’t enough to prevent me from getting more work, unfortunately for the readers…. and it wasn’t embarrassing enough that I needed to airbrush it out of my career-history like others have done to their 2000ad stints! You know who you are!
Self-taught or formally educated? (or mixture of both, mentors etc…)
Unofficially educated by the late, great Don Lawrence, artist of “The Trigan Empire” and “Storm”. As a kid I was a huge fan of his fully-painted, photo-realistic style which he pioneered thirty years before Alex Ross… so, imagine my astonishment when I discovered he lived about two miles from my house. I’m ashamed to say I used to pester him for advice and eventually he offered me a good old-fashioned apprenticeship in the art of comic-strip illustration. At the end of my year under his tuition I had a portfolio strong enough to present to 2000ad. Liam Sharp is also one of Don’s protégés.
Tools of the trade: Taking a quick glance over at your pens, brushes etc…what tools have you mainly been using over the last few years?
I’m mainly a felt-tip guy, unfortunately. I do prefer the look of art that has been done with a brush and Indian ink; the finished art looks so much better done like that: the blacks are more solid. But for some reason, the moment I pick up a brush, my productivity slows down to a standstill. Felt-tips, however, just seem to glide across the paper with no problems at all. They do leave a tiny little blob on the end of a stroke which is the bane of my life… I’m then compelled me to “sharpen” up the lines in Photoshop… but that’s just the sort of anal, autistic task I relish.
My favourite pen? The FINEPOINT SYSTEM 0.1, made in Japan. Lovely … especially when it’s on the verge of wearing out… that’s when I get the best results out of it.
Favorite brand of ink:
Daler-Rowney “Calli”, a jet-black Indian ink, made for calligraphy purposes.
Type of paper:
The cheapest photocopy paper I can get my hands on. Something that will go almost transparent on my light box.
Which artists or creators do you return to for a quick boost of inspiration?
Brian Bolland, Dave Gibbons, Jean “Moebius” Giraud, Jesus Blasco and Brendan McCarthy remain an inspiration. Other artists come along whose sheer quality force me to raise my own game, like Sean Phillips, Dave Taylor, Frazer Irving and Laurence Campbell… but I’m not sure if that’s inspiration or envy. Fear of unemployment, most likely.
To be honest, I don’t really refer to other artists any more. I’m pretty comfortable with my own techniques and my style is pretty much set in stone now, however hard I try to change it. In the old days my desk would be buried under all sorts of comics that acted as reference material. Not anymore… now it’s buried under empty Digestive Biscuit packets.
Who are the masters of ink?
Well, Brian Bolland was THE Master before his work went all-digital. I grieve for the pages of original art we’ve been deprived of thanks to this technique… and Bolland really should have his computer forcefully confiscated by “The Government Department for Culture, Media and Sport” to prevent further losses to this country’s comic-strip heritage.
Once a client has handed off an illustration job to you, how do you first tackle the job. Could you give us a quick overview of your process?
Ah, this is the moment I reveal the fact my career is triumph of technique over talent!
First of all, I read the script over and over, and run through the events in my head… as if I’m watching a movie. Once the script is memorized I throw it to one side and never again refer to it.
I then set up the camera on a tripod, activate the timer, jump in front and act out the events of the script, chronologically. These reference photos are basically the stills from the film I have running in my head. I’ve got all sorts of costumes, capes, hats and weapons lying around… and they all get used.
I remember the time I was taking my reference photos for the “Secret Original” sequence from The Filth… I was dressed as a super-hero, in a hired wheelchair, throwing spastic shapes whilst waiting for the timer on my camera to go off… and I thought: my parents must be so proud!
I try to avoid using photos or reference from existing films or magazines, ‘cos someone is bound to recognize them and tell Rich Johnston. I have done it a couple of times in the past… I’m not saying where… but I always felt like I was cheating and needed a shower afterwards. I won’t be doing it again.
For the female characters I generally use my wife, or as a final resort use Poser. I’m rubbish at drawing women.
Once all the photo-ref is done I download them onto my Apple Mac, and use them to compose the pages in Photoshop. I’ll add in backgrounds, either taken myself, found in Google or computer-generated in Cinema 4D… and then covert the final page to a black and white image and printed off. This is then traced over on my light box… taking care to convert all the figures into likenesses of the characters… and not just depictions of my own aging features. Noses are reduced in size and the middle-age spreads are erased.
The artwork is then scanned in, tidied up, and sent off by email. Then I have a nice cup of tea and some more digestive biscuits.
What’s currently sitting in your mp3 / CD player / turntable?
I tend to just listen to the BBC radio channels…. especially those which are a bit more conversation- based. That way I get to pretend that this isn’t the saddest and loneliest profession in the world, and those voices in my room are actually my friends.
What’s hanging on your walls and what is your favorite piece of art that you own (not created by you)?
I’ve got a nice Carlos Ezquerra “Strontium Dog” pin-up, which is my pride and joy.
Last novel you read and last movie that you saw (that you’d recommend)?
I read “Lord of The Flies” from cover-to-cover on the flight to the New York Comic Con, which was riveting but also really depressing.” Zodiac” was the last film to make a big impression on me; a film that criminally over-looked by the critics, the award ceremonies and the general public. It too was riveting and depressing. Hmmm… I see a pattern emerging…
Current and upcoming projects.
Still working on The Twelve… it’s a long road and there’s no end in sight just yet. However, that hasn’t stopped me lining up work beyond it. I’ve had discussions to re-boot a languishing property; a character I’ve always loved… but nothing’s signed yet, so I can’t talk about it.
But, at the moment I’m totally absorbed by “The Twelve”. I’m really proud of the book… I think it features some of the best art I’ve done for ages. It’s got a great script by Mr. Straczinski; great characters, great dialogue. And it’s a real, page-turner. I’ve no idea where it’s going… and that’s a good thing. Finding an unpredictable story is a rare treat indeed these days.
More people should buy it!
I’ve also done some concept work and storyboards for an upcoming sci-fi movie, which is a dream come true. Nothing green lit just yet, but I’ve been paid, handsomely, and it’s all looking very promising. More news on this once I know what’s happening.
What would you tell an aspiring artist who is working his ass off but still needs and wants to break through to the next level.?
Give up! This industry’s a leaking life-raft and, already, there’s barely enough space for me and my established colleagues!
Well, that’s what I’d like to say… but I’m not cruel enough to crush someone’s dreams like that. I know what it’s like to be on the receiving end of negative feedback: I once presented my portfolio to a representative of the Humanoids Publishing Company and his rude and dismissive remarks are now permanently seared into my very being. This was doubly disappointing when you consider how much of a fan I was of their oeuvre… However, I must admit I was so offended by the nature of his criticism that I found it hard not to enjoy a nano-second of schadenfreude when their US deal went sour! I’m SO bitter and twisted… sigh! I still love their work though.
Seriously, I would try to tailor my advice to suit the artist’s personality and style… but in general I would urge them to keep plugging away and never be afraid to ask the publishers what they are looking for. Remember, you’ve only got to be better than the worst artist already in employment in order to get their work.
I’d consider showing the work of newcomers to my editors… if I felt it was good enough to be published… but I’d probably do it with gritted teeth and worry that they were going to do me out of a job! There ain’t nothing going on but the rent, after all! But it would be a nice way of repaying Don Lawrence for his help by giving the same encouragement and assistance to others who needed it.
For further reading head to:
http://chrisweston.blogspot.com/
Previous Masters of Ink:
Jim Blanchard Mixes it up with OpWound
July 9, 2008
By Jason Thibault
JIM BLANCHARD
I first came across Jim Blanchard’s work in the 1990’s through Mark Dancey’s fantastic magazine, Motor Booty. He had several portraits in there that were rendered in different realistic and photo-realistic styles. Jim is a master craftsman. Later on I found out that he inked a lot of Pete Bagge’s art in HATE. I’ve since bought up every collection of his that I could find. I believe Fantagraphics has put out the majority of them. When I look at his art for too long I think about throwing in the towel. No matter the tool or technique, he seems to have conquered it all. In recent years he has become as equally well known for his paintings.
Near the end of this interview is a pile of images from other artists as Jim was actually kind enough to send along pics of the art hanging up on the walls of his studio. Enough gushing and on with the interview.
First professional work (piece / year) and maybe a quick story behind it.
I honestly don’t remember– The first record cover I can remember doing is the Raw Power “Wop Hour” 45 from 1985– They were an Italian hardcore band that toured the states a few times– Great fellas– I got most of my early work from people seeing my punk/art zine, BLATCH, which I self-published and distributed—
Self-taught or formally educated? (or mixture of both, mentors etc…)
Definitely a mixture of both– I was experimenting and teaching myself as early as 5 years old– I spent years copying Bernie Wrightson, Jim Starlin, John Romita, etc. as a pre-teen– I got a BA in Fine Arts from the University of Oklahoma in 1987, but most of what I learned there in terms of art technique was from my own investigations– College was a great place to fuck around and make use of all the gear: silkscreen equipment, printing presses, photo labs, libraries, etc.– I had one cool Professor who gave me college credits for doing my punk zine—
Tools of the trade: Taking a quick glance over at your pens, brushes etc…what tools have you mainly been using over the last few years?
My fave ink brushes are the Raphael Series 8826 #6 (a “rigger”), and the Windsor Newton Series 7 #000 - #1 for detail– Raphael Series 882 brushes have been very hard to locate lately, even on the web– I finally found a place in Australia that has them (carreroart.com.au)– Other ink tools include Koh-I-Noor rapidiographs, tooth brushes, and assorted pen nibs, some of which work best when defective– I’m currently working with acrylic paint and using Black Gold and Daniel Smith synthetic brushes—
Favorite brand of ink:
It used to be Pelican, but the formula has been altered and thinned down, because people were using it for tattoo ink! That’s what a cartoonist friend told me, anyway– Dan Clowes and Rick Altergott recommend Dr. Martins Tech Black, but I have yet to check it out– I’ll go ahead and finish off this bottle of piss-thin, tattoo-safe Pelican–
Type of paper:
These days, for ink, I buy large sheets of high-dollar Strathmore Bristol– Nothing pisses me off more than buying a tablet of supposedly high quality Bristol board, and then watching my brush lines bleed– I’ve returned more than one tablet for that reason– maybe it’s the thinned down Pelican ink?!
Which artists or creators do you return to for a quick boost of inspiration? Who are the masters of ink?
S. Clay Wilson, Robert Williams, Robert Crumb, Greg Irons, Rick Griffin, Charles Burns, Drew Friedman, Virgil Findlay, Dali, Joe Sinnott, Jack Davis, Wally Wood, Will Elder…
Once a client has handed off an illustration job to you, how do you first tackle the job? Can you provide a quick overview of your process?
I start with very tiny, but tightly rendered thumbnail roughs, about an inch and a half– Then I work my way larger and re-draw, refine, etc.– I also use this process for comics and large paintings– Since I use lots of photo references, I start with locating those, too–
What’s currently sitting in your mp3 / CD player / turntable?
Miles Davis, Gabor Szabo, Chico Hamilton, Pat Martino, Roland Kirk, James Blood Ulmer, Ennio Morricone, Lalo Schifrin, Piero Umiliani, Roy Budd, Tom T. Hall, Waylon Jennings, Dick Curless, Lee Hazlewood, Rod McKuen, Fred Neil, Grand Funk, ZZ Top, The Damned, The Groundhogs, The Bee Gees (first 3 records), Chuck Berry, Jimi Hendrix, etc., etc.– Lots of easy listening LPs lately, one of the few genres I have yet to exhaust—
What’s hanging on your walls and what is your favorite piece of art that you own (not created by you)?
I have lots of original art– Faves include pieces by Daniel Clowes, Jim Woodring, J.R. Williams, John Trubee, Mats?!, Robert Williams, Rick Altergott, Peter Bagge, Nick Bougas, Jesse Wiedel, Jeremy Eaton, Stevo Winters, and R.K. Sloane– I have some cool 60s and 70s movie posters, but don’t have enough room to hang them all up–
Art by Daniel Clowes
By Rick Altergott
By JR Williams
By Stevo Winters
By RK Sloane
Last novel you read and last movie that you saw (that you’d recommend)?
I read non-fiction and history almost exclusively, but the last novel I read and enjoyed was FLASH AND FILIGREE 
Current and upcoming projects.
I’m currently doing commissioned portraits: a very large painting of Bruce Lee, ink portraits of Ike Turner and Pharoah Sanders– I’m also working on a series of “psychedelic primitive” paintings for a future show– No commercial or editorial work lately, thank god—
What would you tell an aspiring artist who is working his ass off but still needs and wants to break through to the next level?
Look at your art when drunk– For me, I can see the weaknesses and “falseness” of my art best when I’m bombed on booze– Psychedelics and pot have the opposite effect, and tend to make anything look interesting– Also, make sure you’re “getting yourself off” with your art– Don’t try too hard to make anyone else happy with it– The next level will make itself eventually if you’re any good and if people are seeing your art—
For further reading and investigation head to these 3 sites:
Main: http://www.jimblanchard.com/
Info blog: http://jimblanchard.blogspot.com/
Art-for-sale blog: http://jimblanchardfineart.blogspot.com/
Previous Masters of Ink:
Nathan Fox
Tom Denney
Richard Serrao
Dan Mumford
Ryan Jones
Rufus Dayglo
Kody Chamberlain
Masters of Ink 7 - Nathan Fox answers 12 questions
July 8, 2008
By Jason Thibault
You see Nathan Fox everywhere these days. He’s been designing skateboard decks for Instant Winner, doing editorial illustrations for places like MTV, creating t-shirt graphics and now drawing comics for DC / Vertigo, Dark Horse and Heavy Metal. Nathan is one of the new bright spots in comicdom and I hope he remains there for years to come.
First professional work (piece / year) and maybe a quick story behind it.
The First professional work I did was in NY. I had done some local work when I lived in KC,MO and Milwaukee, WI for a few papers and magazines but the first one I did when I was serious about it all was for the NY Times Book Review and Steven Heller, the AD at the time. I think that was in 2000 before I started grad school. We had just moved to NY so I could attend SVA’s MFAI program and I heard that Steven Heller doesn’t hire SVA students till they graduate but that he was one of the last art directors to see anyone and everyone in person. So before school I made and apt. and he tore my portfolio to shreds. My work was all over the place but he liked my drawing so I went back when I had some new work and he kept slicing it up. But out of no where he called for a review piece on an Antarctic explorer I think and I was hooked and I got my first break into illustration. That led to more and more newspaper work and eventually magazine and color work.
However, knowing I had tried to sneak in as a student since he never hired students, he of course being friends with the head of the MFAI program, came to our lectures class and spotted me off the bat. He never said anything, there is no proof the rumor was true but for some reason the book review work stopped. his secretary said he was busy and so on. I felt horrible but it was cool. He hired me back after a while but only during the summer time and holidays it seemed. I was always curious about that rumor. Steve’s a really cool guy and a hell of constructive critic… no doubt.
Self-taught or formally educated? (or mixture of both, mentors etc…)
art schools. KCAI in Missouri for undergrad and SVA’s MFA program in illustration - Illustration as Visual Essay. Grad school was definitely mentor/competitive peer boot camp time but oddly enough we got along too well and still managed to hack and slash each others work when needed. I had an amazing advisor my last year and working along side the people who came through the program was as inspiring as finally living in NY. I know it sounds cheesy but I have to admit it was true. Was lucky to be surrounded by talent and in a city that fueled just about everything else.
Tools of the trade: Taking a quick glance over at your pens, brushes etc…what tools have you mainly been using over the last few years?
Mainly old rapidographs from high school/college, sticks, Windsor Newton series 7 brushes and scharff brushes. But to tell you the truth if it’s around and I think I can use it I usually do or try.
Quill pens, drafting and dental tools, etc. For illo work it varies but usually just straight brush and ink on Bristol.
Favorite brand of ink:
FW and Yasutomo and Co. Sumi. Love their orange/china-red sumi for gallery work
Type of paper:
Bristol, Velum and printmaking papers
Which artists or creators do you return to for a quick boost of inspiration? Who are the masters of ink?
Yoshitoshi, Samura, Hernandez, Davis, Otomo, Caniff, Bernet, Berthet…
Once a client has handed off an illustration job to you, how do you first tackle the job? Could you give us a quick overview of your process?
loose sketches to hash out the ideas. Pick a few; hash out one or two still pretty loose sketches, sketch approvals and then the finals.
I’m pretty impatient so end up starting and finishing as fast and linear as possible for some reason. Over time my sketches have gotten super loose. Mostly out of necessity to retain some artistic freedom in the finish.
What’s currently sitting in your mp3 / CD player / turntable?
Here’s what’s on my recently played itunes:
Faith No More
Green Day
Tomahawk
Outkast
Johnny Cash
The Pugs
The Pharcyde
Bo Diddley
Tom Waits
Kanye West
Snoop Dogg
Queens of the Stone age
Elvis Presley
The Meters
Arctic Monkeys
Spoon
Sly and the Family Stone
Nas
The White Stripes
James Brown
Beck
Nirvana
Gogol Bordello
Mr. Bungle
General Patton V.S. The X-Ecutioners
Bob Dylan
The Beastie Boys
Goodie Mob
Gnarls Barkley
Sam Cooke
The Roots
John Spencer Blues Explosion…
What’s hanging on your walls and what is your favorite piece of art that you own (not created by you).
I have a few I am pretty proud of.
A Sacred Monkey Drawing from Marshall Arisman, A tiki girl print from Mitch O’ Connell, A train wreck piece of Paul Chatems and over the fire place that doesn’t work, Corey Goering’s SOS painting.
Last novel you read and last movie that you saw (that you’d recommend)?
Currently Reading Snuff
Last movie I saw was Iron Man I think. It was good but I wouldn’t really recommend it although I am sure I will rent it again. Angel-A
I rent a lot doing the work/fatherhood thing. Not a lot of time for art film houses and movies these days. Catching up on my anime lately. Paprika and Kite are great recommendations. Black Lagoon and Ergo Proxy are two solid new series I found on Disc. If anyone knows how to get a hold of the Gatchaman 2000 animated series, PLEASE drop me a line. Been searching for it for a long time. But then again, I’m a poor searcher…
Current and upcoming projects.
I just finished part 1 of Fluorescent Black due out in the Sept. Issue of Heavy Metal and debuting at SDCC with a special edition cover they’re giving away. So if you are going please stop by and say hey or file a complaint. All are welcome. Wrapping up Pigeons from Hell #4 and getting really excited in the way it is finishing. Other than that there are some pending freelance gigs at the end of the month that I’ll probably be finishing during Wizard Con Chicago. I am on a few pitches that are floating around out there, but we’ll have to wait and see. If you dig the art and narrative or want to see more please send an email to Mike Richardson at Dark Horse. He is sitting on two killer scripts by Adrian A Cruz (http://www.chambersix.com) that I am dying to do. If no one else picks up any pitches I am hoping to take them to Image or the like and just do it on our own over the next few year. Hopefully Pigeons and FB are the beginning of many more to come. Just have to wait and see how it all unfolds. Keeping my fingers crossed.
What would you tell an aspiring artist who is working his ass off but still needs and wants to break through to the next level?
Man. I never know what to say to this one illo or comic’s wise. Feels like Im just getting started myself. I guess I could answer that when I’ve figured some more things out. Till then how about, good luck and look out. Honesty and persistence never hurt, on any level…
Above are the original illustrations for the 7 Deadly Sins skateboard series that Nathan did for Instant Winner. Below are the finished products.
You can find out a lot more about Nathan by going to the following places:
www.darkhorse.com
www.chambersix.com
www.freethegene.com
www.foxnathan.com
www.heavymetal.com
Previous Masters of Ink:
Tom Denney
Richard Serrao
Dan Mumford
Ryan Jones
Rufus Dayglo
Kody Chamberlain
OpWound picks Tom Denney’s brain
July 7, 2008
By Jason Thibault
Beauty and mysticism meet the grotesque. Tom Denney creates some powerful and striking imagery. He’s a reknowned poster, CD and t-shirt artist for many notable underground bands. He’s always pushing his own artistic limits and also happens to be a very skilled video and motion graphics artist. To put it simply, Tom has some heavy shit on his mind.
First professional work (piece / year) and maybe a quick story behind it.
The first design I did for a band was Tusk, who later became Pelican. This was when I moved back to Chicago after I graduated college. I started to do allot of the local bands like Buried at Sea and Lair of the Minotaur. That all started in ‘02 and has sort of snowballed.
Self-taught or formally educated? (or mixture of both, mentors etc…)
I studied art and film in school. However, that was mostly art history and color theory that I found vapid and hardly applicable. As far as the practical and most important business aspect of serving as a freelance artist, I had to learn on my own. I have been very lucky in the way of having many talented working artist friends who could teach me these necessary lessons, like Tony Koehl and Stu Helm who could be turned to for experience based counsel. So in a sense, I have had a long string of impromptu mentors along the way. It has all been a matter of watching, learning, and asking questions when I get stuck. I spent allot of time emailing my favorite artists about technique. I used to write letters to my favorite comic book artists as a youth and would usually get important advice. It was a long hard road, and It would have been allot easier if someone said ”look, being an artist is a personal business, here is a five year plan, and the software skills you will need to make it”. Unfortunately, I had to learn EVERYTHING the hardest way possible. Through trial and error, and error and error. So I consider myself to be self taught, and learning.
Tools of the trade: Taking a quick glance over at your pens, brushes etc…what tools have you mainly been using over the last few years?
I started with traditional nibs and dipping pens but was frustrated with the lack of control. It wasn’t until I started hanging around in tattoo shops that I figured out Micron pens. They are cheap and you can beat ‘em up and they lay a smooth black line. Now I use a combo of fine tip Rapidograph pens too. Brushes I like to use once in a while then leave them out to dry for a week or two without cleaning, and come back to them angered by their insipid uselessness.
Favorite brand of ink:
India ink, Higgins seems to be the most affordable. I can’t really say that I have the means to mess around with anything fancier than that.
Type of paper:
I used to prefer Borden and Riley’s Paris paper, it is smooth and the ink floats over the surface. It is hard to find where I live, so I had to switch to the Strathmore smooth Bristol paper. It is thicker and it is difficult to see detail when you’re using a light board, as I do. I sometimes have to turn out all the lights just to see the detail of my pencil work underneath this heavier paper. The benefit is that the thicker paper feels more impressive, and there is a stronger sense of the art having more value on the rigid Strathmore, rather than the flimsy Paris paper. I feel like a dork talking about paper.
Which artists or creators do you return to for a quick boost of inspiration? Who are the masters of ink?
Frank Frazetta…How the fuck did he do all that? I acquire vast amounts of inspiration from Philippe Druillet, his work is just epic. Symmetrical alien landscapes and other world ornamentations, along with a simple yet complex coloring method, are just a few of the aspects I refer to in his work. Tom Crites I must say blew my mind. When I first saw his art, I didn’t even believe that those sorts of designs were possible. The mixed up mandala/occultistic trans-dimensional absurdities with precision inking made me realize that the summit was allot higher than I previously thought. I can’t deny a heavy influence. Of course Pushead, who set the precedence. You have to be AT LEAST that good, as far as technical ability. Same with Alfonse Mucha. The real trick is, once you have grasped the style, the true test begins. Trying to be as clever with subject matter and composition, without being a Xerox of someone else is the most essential element of what I consider relevant art. Frank Kozik was really important in that sense, he isn’t the greatest illustrator ever, but his compositions carry the load. Anyone can draw a sexy woman with scull face now, but the world needs something new. Just when you think you’re really on the right track, you look at what John Dyer Baisley is doing, and you quickly realize that you need to spend another 30-40 hours rendering stippling effects. The list goes on and on but I think those fellas are tops on this day.
Once a client has handed off an illustration job to you, how do you first tackle the job. Could you give a quick overview of your process?
I first stress out a bunch and do allot of procrastination and bike ridding. Eventually I calm down and I employ allot of strange mental exercises that help me get to a place where my creativity can reach its full expression. I will spend a whole night working my ideas into a composition that I feel confident with. I don’t find thumbnails to be very useful. I just attack a full blank page; there is nothing more intimidating than a blank page, so I frequently stab at it a few times with the pencil to break the ice a bit. I come up with three different images, which the client can choose from. If everything is accepted, than I put it on the light board and ink on a separate piece of paper. Once I scan it, I do allot of secret things that I can’t tell you. Then it goes off to the printers.
What’s currently sitting in your mp3 / CD player / turntable?
I can’t stop listening to Burning Witch and Electric Wizard. I try to listen to other things, these efforts are wrought with failure. Inevitably I succumb to doom. Alderbaran, Graves at Sea, Buried at Sea, Corrupted, all those types of sounds are what keep me…human.
What’s hanging on your walls and what is your favorite piece of art that you own (not created by you)?
I have this Sepultura poster that Michael Whelan did. I have carried it since I was about 14 and it has hung in every room I have ever lived in, and will likely have a spot over the fireplace well into my future. I have spent years studying it and can look at it right now and find something that I have never seen before hidden within its great abstractions. Also, an HC Clark image that I simply worship. I have David DAndrea prints on almost every wall…These images are quite groomy. Alex Grey and Stephen Kasner play prominent rolls as well as many others that are affixed on every bare surface to be found. Because blank walls, like paper, are much too intimidating.
Last novel you read and last movie that you saw (that you’d recommend)?
If you’re into “Zeitgeist”, I found a great one called ”The Esoteric Agenda”, you can see these types of movies online. I have also been really into David Wilcock lately. I finally finished Robert Anton Wilson’s “Cosmic Triger III
Current and upcoming projects.
I have a book of my illustrations being published by Lulu. This should be available in a couple weeks. This book took me a year to compile with 74 pages of full color prints on quality paper. It will be available on Amazon, Borders, and similar online book stores websites or you can order it direct from any store that sells books as it is listed in the ISBN directory under “Tom Denney; Illustration vol 1”. I am finishing up the ISBN registry this weekend, so if you go to www.tomdenney.com, there should be more info and a link to purchase there if you’re interested.
I am always involved in short films or music videos and even music of my own. I try to keep my site updated with these sorts of things, and links to images and sounds are always concentrated at www.tomdenney.com
What would you tell an aspiring artist who is working his ass off but still needs and wants to break through to the next level?
Myspace and the internet in general is an amazing tool. In this day, you don’t even need to work your ass off, all you need is to put forth just a tiny bit of effort and your art can be seen by the entire world. This is new to history. So, if you’re working your ass off and no one is responding, than that is a strong indicator that the effort you’re exerting into promotion needs to be redirected to the art itself. If you first master your craft, and are serious enough, and dedicated enough to do so, then the break through will come to you naturally.
Personally, I followed Pushead’s method of; starting with DIY local flyers and band shirts, this then gets the attention of touring bands who come through looking for new art, who in turn, go on tour and thusly show your art to a great variety of potential admirers. It is not easy, and it will likely not pay the bills at first. However, if you’re dedicated and passionate it will translate into your art and people can either relate…or decide to exploit you. So, don’t be a slave, follow your personal highest excitement, and be unique and true above all things.
Hit up Tom’s Myspace page or website for further reading.
Previous Masters of Ink:
Richard Serrao
Dan Mumford
Ryan Jones
Rufus Dayglo
Kody Chamberlain
-
Recent Posts
- New black and white drawing and acrylic paintings by Fiona Ho
- Forming an Alliance with Heavy Ink
- Words and Pictures with Jacen Burrows
- 12 questions with artist Erik Rose
- Masters of Ink #10 - Tony Moore answers 12 questions
- Chris Weston stops in to talk about art & comics
- Jim Blanchard Mixes it up with OpWound
- Masters of Ink 7 - Nathan Fox answers 12 questions
- OpWound picks Tom Denney’s brain
- Richard Serrao finally speaks in a monster-sized interview
