It is a great honor to present to you an interview with Brett Warnock, the publisher/editor-in-chief of Kitchen Table Magazine. I’ve known Brett for many years going back to his time at Top Shelf Productions, the comics publisher that he co-founded with Chris Staros. Brett is one of the brightest, kindest, and most modest of people I’ve had the pleasure to know. When I say that Kitchen Table Magazine is something truly special it is based upon the fact that I’ve seen time and time again the results in the form of numerous award-winning titles from the meticulous attention to detail from Brett and his creative team.
“Minburi Chronicles” by Justin Dawes
The focus of this interview is the current second issue, The Market Issue, which tackles the subject of how and where you get your food. Whether you like to frequent upscale grocery stores or more affordable outlets, you can’t avoid dealing with the fact that there are numerous factors at play as to how your food ultimately reaches you. Some of the features in the magazine specifically look at how to shorten the path from farm to table. Other features look at the numerous venues available to us as we go about finding our food each day.
From Issue 1: “How to Eat a Lobster” by Jackie Maloney
This is a magazine that will be of interest not only to foodies but to anyone interested in community, the environment, and sustainability. Here you will find a magazine with more visual content, more in depth articles, and a certain quirky outlook, based out of Portland, thinking locally, acting globally.
Bob Ecksteinis an award-winning writer, New Yorker cartoonist, cartoon editor, and author of The New York Times bestseller Footnotes From the World’s Greatest Bookstores. His cartoons, OpEds, and short stories appear regularly in The New York Times, New York Daily News, MAD magazine, Barron’s, Readers Digest, The Spectator, Prospect, Wall Street Journal, Playboy, Atlas Obscura, LitHub, among many others. He was a columnist for The Village Voice, New York Newsday, and TimeOut New York. He has been interviewed in over 100 TV, radio and magazine spots including Good Morning America and People magazine. He was selected Erma Bombeck Humorist of the Month. It was a pleasure to get to chat with Bob about his “series of happy accidents” that have led him to such a multi-faceted career.
New Yorker cartoon by Bob Eckstein
Becoming a regular contributing cartoonist to The New Yorker was a fluke at first. It all began while Bob was in the process of gathering up New Yorker cartoons having to do with snowmen for his book, The History of the Snowman (2007). This led to having lunch with legendary New Yorker cartoonist Sam Gross. At the lunch, Sam encouraged Bob to visit the office and submit a batch of ten cartoons for Cartoon Editor Bob Mankoff to look over. At first, Bob was hesitant but he finally warmed up to the idea. As it turned out, one of his cartoons was accepted. It was something of a miracle, beginner’s luck, and it would take many months before another cartoon was accepted but the die was cast. Bob Eckstein had embarked upon a career as a gag cartoonist at a time when there were still plenty of magazines accepting gag cartoons.
New Yorker cartoon by Bob Eckstein
Fast-forward a few more years, Bob Eckstein has moved on to creating books. In recent years, he has created Footnotes from the World’s Greatest Bookstores (2016), The Illustrated History of the Snowman (2018), The Ultimate Cartoon Book of Book Cartoons (2019), and Everyone’s a Critic: The Ultimate Cartoon Book by the World’s Greatest Cartoonists (2019).
The Illustrated History of the Snowman by Bob Eckstein
Postcards inspired from the book, Footnotes from the World’s Greatest Bookstores.
From Footnotes from the World’s Greatest Bookstores by Bob Eckstein
Footnotes from the World’s Greatest Bookstores by Bob Eckstein
Bob Eckstein spent seven years traveling the world researching and attempting to answer the age-old question, Who made the first snowman? and is the world’s leading snowman expert. He has spoken publicly on the subject at many venues like The Grolier Club, Milford Theater and the Cooperage Theater.
It’s no surprise that a quest to understand the snowman would take a circuitous path. In Bob’s case, it somehow led him to becoming a cartoonist for The New Yorker! And then there’s Bob’s love of independent bookstores. That journey led him to not only create a New York Times bestseller, Footnotes From the World’s Greatest Bookstores, but it also led to him editing what has become a series of New Yorker cartoon books. As Bob told me, the idea behind both The Ultimate Cartoon Book of Book Cartoons and Everyone’s a Critic: The Ultimate Cartoon Book is to present the very best cartoonists. Themes are important but, in the end, it’s all about the quality, the artistry, and a certain sensibility. Mr. Eckstein has done a wonderful job of showcasing that magical blend of talent.
You can listen to part of our conversation by clicking the link below:
As you can read in my previous post, I am a big fan of Danny Gregory, his new book on creativity, and the online creative learning community of Sketchbook Skool. I believe Danny to be very sincere in his pursuit of making drawing in a sketchbook a “new normal” in anyone’s life. What he has to say is honest, direct, and spirited. So, with that in mind, I couldn’t resist doing an interview with him. I think you’ll enjoy it. I found Danny to be a delightful guest. I’ve done numerous interviews for well over a decade now, including best-selling novelists, award-winning screenwriters, and so on. Danny is someone who keeps reminding me to never forget that, at my core, I love being creative. We talk a lot about creativity in the interview and this “artist thing.” And, I have to admit, I don’t have a problem calling myself an artist because I am one. For Danny, he doesn’t care about labels as they can get in the way. I care about a label, especially as it applies to me. I guess I’m trying to say that I relate to what Danny is doing in my own way. Becoming an “artist” or maintaining being an artist is something that I’m proud of. Anyway, I’m sure that Danny has heard it all. In a nutshell, he’s the sort of person who doesn’t tolerate too much in the way of formality and wants you to go out and play! For goodness sake, go out and draw something already!
How to Draw Without Talent is the latest in Danny Gregory’s books on how to get into the creative habit. It is the first tie-in book with Sketchbook Skool that he co-founded with Koosje Koene. If this is all new to you, I know that you’re in for a big treat. Everyone can benefit from taking pencil to paper and drawing. And, if you are not a beginner but an established artist of one kind or another, Danny, Koosje, and the rest of SBS staff have an assortment of creative workouts that will entice you. It’s all about keeping one’s hand in game, right?
So, just click the video link and you can check out my interview with Danny Gregory. Upon listening to it a number of times as I put together the video, I found myself rediscovering all the care and charm to Danny’s approach. He’s a regular guy, no pretense about him, and he’d like to put a smile on your face byway of a sketchbook. Why not give it a try?
Visit Danny Gregory right here. Visit Sketchbook Skool right here. How to Draw Without Talent is published by North Light Books, an imprint of Penguin Random House.
Danny Gregory portrait by Henry Chamberlain
I thought you might appreciate the above drawing my yours truly. I keep promising to add more of my own artwork to my posts. This is just a quick little portrait of Danny that I whipped up.
Ian Wright is a true artist. If you are not familiar with his work, just one look, and you’ll be hooked. His love for his subject matter and his working methods brings you in and won’t let go. I had the great privilege to spend some time with Mr. Wright during a chat in his studio. Jennifer and I consider it a highlight of our recent European tour. Ian is quite the host, very open and generous with explaining and sharing his work. From beads, or badges, or torn paper, to name just a few potential sources, Ian Wright creates portraits like you’ve never seen before. Click the link below to see my short film on this very special art studio visit while we were in London.
John Lennon portrait by Ian Wright
The visit began with a spark of energy and it just continued to blossom. Bit by bit, I got to know Ian Wright, from his early work up to the present. He always wanted to be a commercial artist. He got his big break not long after college doing weekly portraits for the popular British music magazine, New Musical Express (NME) and that allowed him an audience and an opportunity to hone his skills. Wright interned at the prestigious NTA Studios, similar to Push Pin in New York. NTA was run by George Hardie, Bob Lawrie, Bush Hollyhead, and Malcolm Harrison. They were illustrator-graphic designers and the connection to that work led Wright to study graphic design. Later, Wright shared a studio with Neville Brody and, at that point, Wright was working at NME. The 1980s was a great time to play and learn about various ways of working. It was a matter of endless practice.
T.I.: Paper Trail album cover by Ian Wright
As a young artist developing his style, Wright discovered that his ideas were linked to his choice of materials. It was when he pushed himself that he found himself creating his most compelling work. Early on, during his time at NME, he had a breakthrough when he used salt to represent lines of cocaine for a portrait of Grandmaster Flash. Around the same time, Wright was pushing the boundaries of what you could do with an office copy machine. For instance, imagine what you might accomplish if you manipulate the rollers? Or what might happen if you manipulate an image on the screen? Wright found out. One project has brought him back to such analog experiments. He created an album cover for the band Madness in its heyday and was recently approached by the band for a poster for a new show next month.
Madness at The Roundhouse
We began with a portrait of the wrestling legend Giant Haystacks and went on from there. Wright talked about various other portraits, like the one he did of the hip hop artist T.I. for an album cover. Wright subverted the notion of glamour and gloss in hip hop and used humble recycled paper. Another example was an amazing work-in-progress of a portrait of D.H. Lawrence made out of pages from Lady Chatterley’s Lover. Another great work was a portrait of singer Albert Ayler which is included in the recent 100th issue of the magazine, Straight No Chaser. I asked Wright if it was more challenging to depict someone unknown or someone famous and that got him thinking over it. He brought out a dazzling portrait of David Bowie that he did for The Atlantic made out of pins. He pointed out that, without that flash across his face, it might not read as Bowie. Some famous faces are so ingrained into our psyche that we have trouble recognizing them without their usual posturing. Whatever the case, Wright has managed with each of his portraits to not only capture a likeness but to evoke something soulful from the subject as well as from himself.
Krazy Kat began as its own comic strip on October 28, 1913. That was 106 years ago. Much has changed and much remains in transition. For instance, we continue to struggle with race. But let me loop back for a moment. Many of you might be familiar with Krazy Kat and many of you might not. It was nothing short of a national sensation in its heyday, read my people from all strata of society. During that era, the early 20th century, you can argue that the common knowledge base was bigger than it is today while the universal sensitivity towards others was smaller. Today, the level of common knowledge and sensitivity seems to have become inverted. We seem to care more while we know less. That said, Krazy Kat, the comic strip, (1913-1944) held a position in pop culture akin to what Saturday Night Live holds today. Everyone read it, from paperboys to presidents, and it got under people’s skin. And, speaking of skin, race is the tie that binds and is in the background and in the foreground to everything I’m talking about here. I’m talking about the first full length biography of cartoonist George Herriman and one of the best recent biographies in general: Krazy: George Herriman, a Life in Black and White, written by Michael Tisserand, published in December of 2016, by HarperCollins.
Krazy Kat and Ignatz in full swing.
Race, and identity, plays a predominant role in Krazy Kat as the main character is engaged in a never-ending journey of following an independent path while dealing with society. Krazy Kat is a cat with no particular gender and no particular purpose, really, other than attempting to find a little romance with Ignatz mouse. Today, you might think this gender-bending scenario would have been too sophisticated for the early 20th century but the comic strip steadily gained in popularity. People’s tastes were generally more raw and unfiltered and that sensibility carried over into the Krazy Kat comic strip. Over time, George Herriman was able to perfect a love triangle between cat, mouse, and dog. It was a wonderfully existential comic strip that especially appealed to intellectuals and inspired everyone from Picasso to Charles Schulz. Through it all, Krazy Kat was a black cat confused over whether it should be black or white.
A life in black and white.
Tisserand takes the reader along a bumpy, often violent and toxic, ride down the American experience byway of cartoonist George Herriman and his family. This is also a story of redemption and transcendence. The guiding refrain we hold onto dearly in America is a belief in resilience, not always quick but something we collectively want to keep alive. We can surprise ourselves, and emerge from tragedy. That said, Americans were living in highly dangerous times regarding race when budding cartoonist George Herriman, of mixed raced, came of age and was establishing himself. Herriman was born in 1880. Consider just one fact about the world that George was born into, as cited by Tisserand in his book: “Louisiana’s total of 313 blacks lynched between 1889 and 1918 was only surpassed by those in Georgia, Mississippi, and Texas.” That appalling and horrific fact alone undeniably makes clear why George and his family ultimately moved from New Orleans in 1889 to Los Angeles. The Herriman family from then on was to pass for white. That decision opened up a whole new world of freedom and opportunity.
Krazy: George Herriman, a Life in Black and White
Race back in George’s day, and today, is a complicated subject the deeper you dig. What may seem improbable and unlikely, might add up in proper context. So, I was in New Orleans recently and I got to chat with Michael Tisserand. I put to Michael a question about how Herriman had to tow the line and create comics that followed the racism of the era before he could eventually move on to create what is universally beloved transcendent art. There are no easy answers, he said, and he chose in his book to simply bring out the facts and not try to speculate. That is how he was able to reconcile, or move past, the fact that Herriman did his fair share of racist comics and even wore black face at an event put together by carousing co-workers. These were certainly not Herriman’s proudest moments. Perhaps they were simply moments to get through in order to survive. As they always say, it was another time. Remarkably, Herriman ended up redeeming himself many times over. That would seem to have been the plan all along.
Hiding his true identity was a choice that made sense for George Herriman. And his friends and co-workers were more than happy to follow a “don’t ask, don’t tell” policy regarding his heritage. George was simply known as “The Greek.” It wasn’t until decades later, in 1971, when a reporter discovered a birth certificate that labeled Herriman as “colored” that the news finally came out and, even then, it was dismissed and refuted for years. George’s big secret actually became a mixed blessing as it informed his life’s work. As Tisserand describes in vivid detail, Herriman developed what was to become a true work of art. Ahead of its time, and more married to art than commercial success, Krazy Kat became a vessel upon which to speak out about one’s own worth and identity. Krazy Kat was the gender-bending sprite that defied conventional wisdom. In the end, George may have been hiding but he was hiding in plain sight.
Michael provided me with an inspired guided tour of the Treme neighborhood of New Orleans and you can see it in the short film I created. Just click the link above. We went over all the old haunts and residences of the Herriman family and extended relations and friends. Michael was in fine form, engaged with the subject and bringing it to life. This is the same tour that he has provided to notable figures in comics such as Art Spiegelman, creator of the landmark work in comics, Maus; Patrick McDonnell, the creator of the popular comic strip, Mutts; and Paul Karasik, author of the best-selling, How to Read Nancy. Lucky me. I think you’ll enjoy the ride too.
Krazy: George Herriman, a Life in Black and White is a 592-page book, available in print and various platforms, published by HarperCollins. Visit Michael Tisserand right here.
Dave Pressler in 2004 for a Halloween show at The Key Club, We Have Your Toys.
Robin Williams and Scarlett Johansson are among the stars who have flocked to the art of Dave Pressler. Do you like robots? Do you like monsters? There’s bound to be something to your liking from the multi-hyphenated artist. Indeed, Pressler excels as an illustrator, painter, sculptor and character designer. You can always find him at his website and, if you’re in Colorado, you can go view his latest show, The Right Tool for the Job: The Future of the Robot Industrial Revolution, at Telluride Arts HQ Gallery from August 30 to October 1, 2019.
Scarlett Johansson buys a Dave Pressler sculpture from Munky King in 2004.
In this interview, we chat about the process of making art, the loneliness of robots, and how anyone with a healthy determination can become the artist they’ve always wanted to be.
Dave Pressler at Telluride Arts HQ Gallery
Telluride Arts HQ Gallery
THE RIGHT TOOL FOR THE JOB
The Future of the Robot Industrial Revolution
EMMY AWARD-NOMINATED, MULTI-HYPHENATE ARTIST DAVE PRESSLER RETURNS TO TELLURIDE WITH NEW SHOW EXPLORING THE FUTURE OF ROBOTS AT WORK
Telluride Art Walk
Thursday, September 5, 2019 | 5-8 pm
August 30, 2019 – October 1, 2019
Telluride Arts HQ Gallery 135 W Pacific Ave, Telluride, CO 81435
The Telluride Arts District is proud to present the next solo exhibition of artist Dave Pressler, The Right Tool for the Job: The Future of the Robot Industrial Revolution. As the specter of automation and artificial intelligence continue to advance, slowly replacing more and more blue collar jobs, Pressler imagines a parallel universe in which his classic robot characters must show up for factory work the same way we begrudgingly did at the turn of the 20th century. The illustrator, painter, sculptor and character designer has already had a busy 2019, but this show once again breaks new ground for him as an artist: it will be the first time he’s exhibiting a new body of work comprised almost entirely of graphite on paper.
“We’re having another industrial revolution right now, but most people aren’t really talking about it,” explains Pressler. “There’s all this rhetoric about immigrants coming in and stealing blue collar jobs, but it’s not really true. It’s the same thing that happened in the 1800s, when local furniture-makers and garment makers were suddenly replaced by factories powered by steam and assembly-line workers. We’re seeing the same kind of job displacement that we did at the start of the 20th century, but this time it’s being driven by automation and AI.”
Pressler, a self-described blue collar artist, hails from a working class background in the southern suburbs of Chicago. Growing up in a factory town, he was always surrounded by people who made a living working with their hands. To this day, it informs how he sees his role in Hollywood and the low-brow, pop art worlds. Pressler originally moved to Los Angeles in his early 20s to pursue work as an actor, but in the 90s, he shifted dramatically toward production and character design. This work required the creativity of an artist, yes, but more importantly, it required the discipline to sit down and do it—to put in a hard day’s work and get ‘er done, not unlike a blue collar job. From there, his career path almost became traditional, seeing him rise through the ranks to become production designer on the Jim Henson Company’s B.R.A.T.S. of the Lost Nebula, followed by The Save-Ums and Team Smithereen. Eventually, he co-created the Emmy-nominated Robot and Monster for Nickelodeon, all while continuing to develop himself as an illustrator, painter and sculptor in the low-brow art market. All of his two decade plus career was explored recently in his retrospective museum exhibition, “Idea to Object,” at Lancaster Museum of Art.
The humorous but gritty worlds populated with robots and monsters that Pressler creates have always involved his characters begrudgingly fulfilling their duties, almost like holding up a robot-tinted mirror to the lives we have to live to make money and keep society going. For the first time ever, with this automation and AI-driven industrial revolution we’re currently witnessing, Pressler’s whimsical robot world is coming into its own and perhaps serving as an extension of reality. Pressler’s newest exhibition humorously goes behind the scenes of what the robots will have to deal with as we pass off more and more work to them.
Listen to the podcast interview by clicking the link below:
In Seattle, if you’re concerned about public safety, you shouldn’t also have to worry about being labeled a NIMBY but that’s a problem with Seattle politics. It’s become such a problem that frustrated citizens are more than ready for a change in their so-called progressive city government. Well, I put on my reporter’s hat again and interviewed singer/songwriter Abby London who debuted a music video that speaks to many of us in Seattle who are simply looking for a fresh new approach and some common sense when it comes to issues of housing, homelessness, and public safety.
Sergio for city council. A campaign with style and substance that has struck a chord.
In my interview, Abby speaks with great conviction about how she can’t recommend Seattle right now to out-of-state friends. This concern rings true with so many people here in Seattle and beyond. It’s not very difficult for folks outside Seattle to relate with. We close our interview with a call for all Seattle voters to get out and vote in the August 6th primary election. Don’t be left out!
Children observe the movements of the US Border Patrol agents from the Mexican side where the border meets the Pacific Ocean, Tijuana, Mexico, on Friday, November. 16, 2018. (AP Photo/Rodrigo Abd)
Yesterday, The Nation magazine released an open letter to the US Congress speaking out against inhumane conditions at the US/Mexico border. You can read that post right here. I decided to put on my reporter’s hat and address this news story promptly. I was looking over the list of the over 40 prominent authors who cosigned and I noticed the one graphic novelist on the list, Anya Ulinich. Of course, my eyes rested on each and every participant given such an impressive list. But I concluded that I was unable to resist getting a few words from Anya Ulinich. As I said to her beforehand, I wasn’t expecting too many words, just whatever might come to her mind. When I asked her what it meant to her to be an immigrant, she said it simply meant that she went from living in one place to living in another place. And, yes, it should be as simple as that.
Ulinich went on to say that, “as a parent of two children, I know that every day that a child is put through fear and discomfort is traumatic. I can’t understand a person who would think that these conditions are acceptable for whatever bureaucratic reason.” As for hopes for the future, Ulinich hopes that The Nation’s Open Letter reaches Congress and that Donald Trump is not re-elected in 2020.
To hear the interview, just click the audio link below:
Ulli Lust is an artist who has created some of the most engaging work in comics. Her long form works include Today is the Last Day of the Rest of Your Life (2009), and her latest, How I Tried to Be a Good Person, both published in the US by Fantagraphics Books. These titles are wonderful testaments to the power of auto-bio graphic memoir. You can read my review of the latest title in the previous post. In this interview, I chat with Ulli Lust about her work and about being an artist. The transcript follows and you can also see the video by clicking the link below.
HENRY CHAMBERLAIN: Do you find that creating comics is becoming easier for you?
ULLI LUST: It’s absolutely easier. After the first one hundred pages, you get into the flow of the book.
What do you think people in the United States might not understand about the great love for comics in France?
Maybe it’s not well known that the French comics readership is the second largest comics market in the world, after the Japanese. And the third largest is American. France is not a very large country and yet it is producing so many comics, I believe it is 5,000 per year, with all those readers, I don’t think that’s common knowledge. The French love comics.
Today is the Last Day of the Rest of Your Life
Please share about your writing process. For example, when you are working out a narrative, do you recite it in your head and then share it with friends, tell them the story and see what they think?
It actually is a very good technique to tell your story to other people because you get to know what points are interesting and which are not. The problem with my comics is that the stories are too complex to tell in a short from to a friend. I need all these pages to bring out a story’s details which sometimes are not very logical in itself. If I do tell a story to a friend, I mainly keep to the fun parts. I don’t talk about all the details that seem illogical. For example, with Today is the Last Day of the Rest of Your Life, I would talk at parties about the stories involving the Mafia but I could never really communicate the real impact of the whole trip because these stories aren’t simply funny.
Would you share about your drawing and comics production process. For example, how do you color your work?
The colors I do only on the computer. I care about the linework. It needs to be strong and fixed. The color is only a second layer. I want it to just be flat. The color doesn’t need to have character. So, the computer coloring is perfect.
It’s an aesthetic choice. You don’t want to mess with shading and other effects. You want the color to serve a secondary function.
I like the old-fashioned printing of the early 20th century. The lithographs were very flat. The colors were very separated. The linework is very important but the shading effects are not important. I don’t think that is necessary for comics, at least not for the comics that I create. I really like the more raw drawings.
How I Tried to Be a Good Person
What can you tell us about the love triangle between the characters Ulli, Georg and Kim? What can you tell us about this problematic relationship?
I told this story about a problematic relationship because the problematic stories are always more interesting. I’m in a very happy 20-year relationship with this man (points over to her partner, the artist Kai Peiffer) and we don’t have any problematic stories to tell! I told the story of the triangle with Georg and Kim because I find it important to say that you don’t have to stick to a monogamous partnership. That has its own set of problems. Actually, I was surprised at how well that triangle relationship worked for a time and I wanted to show that. That it didn’t end well in the end is a pity. Maybe it makes for a richer story and brings in other social aspects. It was important to talk about domestic violence. I didn’t experience that a second time, only that one time.
Could you give us a taste of what it’s like leading a class in comics since you teach at the University of Hanover. What are the typical expectations of students?
I teach drawing, comics and storytelling. My students are mainly graphic designers, not illustrators. I do a lot of exercises to train their senses, curiosity and attitude as creators. I think the mindset is important as an artist. Whatever you do, a comic, a painting or a website, it all requires a certain mindset.
How might you compare the process of making comics with other forms of art? For example, with painting and comics, the process begins very loose and bit by bit you are refining.
I envy painters because they can create with their raw emotions and they don’t have to think so much. There are so many details to juggle with comics. I think it’s easier to do a big painting than it is to do a work in comics.
Do you have any observations on the art and comics scene? You always need to maintain a certain cool appearance as an artist even though that has nothing to do with how good an artist you are.
I feel at home in the art scene. I don’t feel at home in a more restricted environment. So, I don’t need to play it cool.
Who are some cartoonists right now that really wow you?
I like a lot of the American women who are creating comics and storytelling: Lauren Weinstein, Leela Corman, Keiler Roberts and Liana Finck. If I were to put together an anthology, I would include them as well as other cartoonists. I discover them through the internet. And they’re really great.
Any final thoughts? Anything else you might like to add?
For sure, there are plenty of things. Going back to teaching, I would tell students that want to go into comics that it isn’t instant success. It involves so much work. My students need to create a comic during the course but I don’t push them to continue on with it after the course is done. It has to be their own decision. They really have to want it. Otherwise, it doesn’t make sense.
Be sure to take a look at the video interview by going to the link below:
How I Tried to Be a Good Person is a 368-page trade paperback, published by Fantagraphics Books.
Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a unique behind-the-scenes look at the studios and work habits of some of the all-time great comic book artists, published by Insight Comics, with interviews by Joel Meadows. It is a pleasure to get a chance to chat with Joel Meadows, a fellow comics journalist. Mr. Meadows jumped into comics journalism in 1992 with his own Tripwire Magazine. In this interview, we’re going to unpack what that all means. There have been so many others who have joined the ranks of comics journalists, including myself, so there’s plenty to unpack!
HENRY CHAMBERLAIN: Joel, thank you for joining me for this conversation. We’re going to chat about Masters of Comics and the world of comics journalism. You begin in 1992 as a young guy who is compelled to create Tripwire, a magazine of genre culture, and that has evolved into an exciting new website presence and the publication of significant books on pop culture. I believe you really hit upon something with the original Studio Space and now the current Masters of Comics. As a jumping off point, share with us some of the thinking that led you to pursue a collection of in depth process interviews.
It started with the magazine, you mentioned Tripwire. We used to run a feature, Studio Space, where we interviewed artists and illustrators in order to get a closer look, get behind their work: the way they work and how they approach their work. We began with Tim Bradstreet, Phil Hale, and John Bolton. I found it fascinating and I thought it might be fun to pursue this further as a book. We put together a line up of artists for Image in 2008 and that was an impressive book. I was very proud of that book. That came out 11 years ago. We had the late great Joe Kubert. We had Sergio Toppi. We had Steve Dillon. We had Howard Chaykin. I can’t recall everyone. It was a pretty amazing list. I was very proud that we had managed to gather all these great artists together and get into each of their headspace and look at how they actually created work and how each studio was different from the next.
Tripwire magazine, circa 1990s
I love the fact that you have books out in the world. For me, my first loyalty is with print. We both go back to a pre-internet perspective. It used to be that to have something in print was the be all, end all. You feel secure with print. You can feel a bit uncertain about the internet: things can be completely wiped away. The whole website might blow up but you can always have a print edition somewhere. Do you feel like that sometimes?
A little bit. We switched to the web back in 2015 and it has its pros and cons. If you make a mistake you can always go back and fix it. But there’s something about the physicality of a book or a magazine. There’s the tactile nature of it. Say, if you meet someone and they ask you what you do, you can direct them to a website but, in some ways, it’s even nicer to be able to show them the book that you’ve published or the magazine that you edit. There’s something about having something physical that is hard to beat.
Exactly, that’s what I want to stress to everyone. Of course, you can go to a tutorial on Youtube but it’s so great to be able to pick up a book and pore over the pages and make discoveries. I think of someone like John Paul Leon, an amazing artist who will be new to a lot of readers. There’s one title that he worked on, The Winter Men, that really sticks with me. You’ve got such a wonderful range of talent, everyone from Frank Quitely to Bill Sienkiewicz to J.H. Williams III, and everyone has their own way of working. There’s so much to consider, of course, over creating the work physically or digitally or a combination of the two.
Maybe it’s a generational thing. I interviewed Mike Kaluta for the book and he works physically with pen and ink. J.P. has more of a mix. Walt Simonson works physically but he does fix lines digitally. I think it was Laurence Campbell, who does work physically, who said that, with digital, he misses the idea of being able to have a happy accident. You might make a mistake but it’s a good mistake. It brings the work to life a little bit more. In some ways, it comes down to digital coming across as too precise. The idea that you can go in and fix a mistake in Photoshop can leave some artists feeling that something is missing. Obviously, other artists love digital. Sean Phillips he draws his line art digitally but he also paints physically. He went back to painting for some of his covers and some of his work for Criminal. He likes to jump between the two. It really depends upon the artist. Some like the tactile experience of physically painting. Others like the convenience of digital. So, it comes down to a case by case basis.
Sean Phillips doing digital work.
Yes, I think it does come down to a case by case basis since you can’t totally peg it as generational. You have so many young artists who enjoy doing work physically. I even wonder sometimes if using markers is really the best approach to coloring your work. But, hey, if an artist can make it work with markers, then why not.
Michael William Kaluta doing physical work.
I want to ask you about your own process. Maybe you can take us behind the scenes of how you got the book put together. Did you personally interview each artist in their studio or were some interviews over the phone?
It was a mix. I got to visit some of the artists personally: Mike Kaluta, Walt Simonson, Posy Simmonds, Laurence Campbell, and Sean Phillips. The rest were e-mail or telephone interviews and, for those, they supplied the photographs. I would have loved to have interviewed in person Eduardo Risso but he’s way over in Argentina. The same with Rafael Albuquerque. He’s in Brazil. I did the photography for the artists that I met with in person.
It’s a seamless presentation, how all the profiles were put together into such a compelling whole.
Insight did a great job with the design. It looks beautiful. They did a great job with the typography and the way all the images fit, the comics art and the photography. It holds together really well as a cohesive package.
There are 21 profiles here. Maybe you can tell us something more about the decision-making process in choosing artists. It is a stellar line-up of artists. Rafael Albuquerque. Tim Sale. Yumo Shimizu. The list goes.
We wanted to have a cross section of artists coming from different disciplines. For instance, Walt Simonson is very much a pen and ink guy. John Paul Leon is more of a marker artist. Dave Johnson is a cover artist, one of the best. If we picked 20 or so artists that were all in the same style, then it would have gotten repetitive. So, we wanted to have something that was varied in terms of approach and actual work.
Share with us about the world of comics journalism. It was a whole other world when you began in 1992. The field was wide open. Back then, there were only a few outlets, like The Comics Journal. Today, it’s a relatively crowded field, especially when you add in all the various tiers of involvement.
It has changed. The Comics Journal had its moments. I used to enjoy Amazing Heroes, going back to the late ’80s. The biggest one was Speakeasy. It had a column by Grant Morrison. It was a very irreverent magazine. That was a big influence on us at Tripwire. Back in the ’90s, you also had Wizard, which really wasn’t for me. And, yeah, I never connected with The Comics Journal. Today, there are a number of good websites. There’s a digital magazine based in the UK that is doing a lot of good work called, PanexPanel, run by Hass Otsmane-Elhaou. And Forces of Geek, with Stefan Blitz, does excellent work too. A lot of sites are just running press releases. At Tripwire, we try to dig deeper. We interview the creators and the key players. We try to look at the bigger picture. It’s a challenge.
Amazing Heroes (1981-1992), published by Fantagraphics
The thing with press releases is that it’s a balancing act. You don’t want to rely on them. You have to really pick and choose. Some are quite informative and newsworthy. What is the criteria for you when it comes to content on Tripwire?
We try for variety and we try to cover people that other websites don’t. For example, we’ve recently run two interviews with Scott Dunbier from IDW. His artist collections and special projects are a great celebration of comics history. So, we try to pick people like him. We’ve interviewed Chuck Palahniuk a couple of times. We’ve interviewed Philip Pullman. We try to go beyond the boundaries of many comics websites. I want to dig a bit deeper like we did with our interview with J. M. DeMatteis. We try not to cover everything. And we try to contextualize our interviews and explain the significance of our interview subjects.
I do my best to go in depth with my interviews. And I’m always on the look out to go beyond the boundaries of a typical pop culture website. I will naturally gravitate to some novel, which may or may not have anything to do with comics. I might bring in an essay, or whatever. It just happens organically and it helps to keep things fresh and bring in a cross section of readers.
Yes, we do that too on occasion.
Speakeasy, “the organ of the comics world,” March, 1990
I wonder what your take is on alternative comics. My partner, Jennifer, and I are both cartoonists. We come from that indie alt-comics scene. I’m sure you’re familiar with the Page 45 quote.
Yes, I am.
It’s a brilliant observation by Stephen Holland, owner of the UK comics shop Page 45, about how “alternative comics are the real mainstream.”
There’s a lot of great material. I read indie comics. I’ve read the likes of Joe Matt and Daniel Clowes and Adrian Tomine back in the ’90s. I tried to keep up with their careers. There’s incredibly talented people. You have someone like Ed Brubaker who started life as an indie cartoonist and moved into the mainstream. He’s one of these guys who can straddle the two. I believe the Page 45 quote gets it right. You can give someone who doesn’t normally read comics a book like Berlin, by Jason Lutes, and they can appreciate it. But they will have a much harder time with a Batman or Teen Titan graphic novel which relies on more in depth comics knowledge.
MASTERS OF COMICS
I just need to ask you about what’s been on your pop culture radar. For instance, what was your take on how Game of Thrones on HBO resolved itself?
You have to feel sorry for the creators of the show since you can’t satisfy everyone. I remember when the Sopranos ended. I really liked how it ended but there were a lot of people who weren’t happy. A big show like that, which has been around for years, it’s almost impossible to satisfy all of your audience. I think the ending to Game of Thrones was okay. To be honest, I’m not sure how else HBO could have ended it.
There are some shows that we in the States have to wait for from across the pond. But then there’s also the reverse. For example, the new Twilight Zone on CBS All Access. Are you looking forward to that one?
I am curious. I enjoyed Get Out a lot. I think Jordan Peele is quite talented. I’m curious as to whether or not they’ve managed to keep that original flavor.
I’ve gotten a chance to view the whole season and I think it’s coming together. I think it’s going to be of those shows that will probably remain a bit uneven but can have exceptional episodes so you root for it.
There’s quite a bit of TV. I’m trying to catch up with Jessica Jones. I’m a bit ambivalent about the Marvel shows on Netflix. I enjoyed a lot of Daredevil and Luke Cage. I think the big problem is that a lot of these shows run too long. They would be much better off with shorter runs of six episodes per season. Another one, Punisher, I just couldn’t finish that.
How would you like to end our talk? Anything else you’d like to add about Tripwire or Masters of Comics?
We continue to evolve the Tripwire website. We’re hoping to organize a talk that ties in Masters of Comics at the Society of Illustrators in October during New York Comic Con. It would include Walt Simonson and Shawn Martinbrough. It would be very nice to have an event tie-in for the book. We’re also looking forward to some collections of interviews from Tripwire. This is something we’re working with another publisher on. The plan is to have the first book available in time for next year’s Comic Con in San Diego. So, that’s exciting. We’ll be returning to print after a bit of a break.
That would be so exciting to have a talk at Society of Illustrators. I hope that works out.
Well, thank you. We’re hoping to pin that down.
Thanks so much, Joel.
Thank you, Henry.
You can listen to a portion of the podcast interview by just clicking the link below:
Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a 184-page full color trade paperback, with 21 profiles, with art samples and studio photographs, published by Insight Comics.
Keep up with Joel Meadows and Tripwire magazine by going right here.