Interviews Archives

Questions from John Lucien Grillo

How have the comic books you read in the past had an effect on the stories you make today?

You know, as a writer whose background is in fiction/screenwriting/novels, I'm somewhat new to the comics game. Growing up, I actually was way more into cartoons - the Saturday morning cartoon line up back then was legendary (Dragon's Lair, Superfriends, Dungeons & Dragons, Snorks, Spider Man, etc. - the list is endless). I always read the "funnies" in the paper and got into comics like The Far Side, Garfield, and Calvin and Hobbes. Those comics (and a continuous love for cartoons) ultimately helped generate my creativity and imagination - around age eleven, I swear I thought I could actually become a superhero. It wasn't until later, as an adult, that I discovered the full range of comic books - those that went beyond the "cartoonish" realm to become dark, serious, violent, complex, philosophical, and highly artistic. I'm still discovering them even today, constantly being impressed at the range of story-telling capability. I think the DC Conspiracy is a great example - I'm constantly wowed by the work this group creates.

Probably the best evidence of the influence of cartoons/comics on my writing, is in my first novel, National Darkroast Day. It's regular fiction, yet the cover is illustrated like a comic or graphic novel to fit the tone and style of the story. Ultimately, that's the lens that I see my stories through - which was certainly given to me by all those cartoons/comics.

What are your ideal working conditions? Or does your environment have any effect on your writing?

Good question. I think my ideal working conditions are always somewhat in flux. There are certain elements that I've learned are generally helpful - being surrounded by books and other inspiring items, or having a window nearby so I don't get claustrophobic, or listening to good music. But other factors seem to change day to day, or year to year. Some days having a TV turned on while working is great help - other days it's an enormous distraction. Some days, like I said, I can't work without good music - other days it ruins my train of thought - or I need a particular type, like techno music, to keep up the intensity. I guess in that way, to answer your other question, yes, environment definitely plays a part in my writing - but factors change. Ultimately, whatever gets the work done is what works for me.

If you had the money to turn any comic book into a feature film (that hasn't already been done) which would it be and who would you cast?

Well, I recently saw "Watchmen" and thought that made an awesome movie. But according to the rules, I've got to mention something else. I'm sure there are lots of great comics out there I don't know about, but I guess I'd say maybe Calvin and Hobbes. I know by all means that's not the "coolest" comic book, but I own (and still love) nearly every C&H collection that Bill Watterson released. I've always thought it'd make a great film - perhaps using CGI done by Pixar. Everything Pixar does is great - and there's lots of imaginative stuff in C&H, especially the Spaceman Spiff, T-Rex, cardboard-box modifier stuff - as well as lots of humor. Don't care who does the voices, but Pixar would definitely be the crew to produce it right.

1. How did you get involved in making comics?

My first comic making was done in middle school - at first it was a whole lot of nonsense; helicopters shooting tanks and huge explosions. Eventually those doodles evolved into a cadre of shapeshifting, smiley-faced blobs that could turn their arms into guns and lasers. It was around that time that I started reading X-men and Spider Man, but the one story that really caught my attention was the Maximum Carnage arch.

I continued making comics throughout my high school life, I tried to make a strip for the school newspaper, but I didn't have a story to tell and I stopped after one strip. Damn, I think I was like 15 at that point.

Not much else happened between then and now, except for the fact that I lived in Japan for two years and was heavily affected by the manga art style.

I've taken up comics again, but this time I'm making them for the web. The learning curve is steep, especially with all of the digital re-touching that is possible these days. My current project, is a journal-style comic on the relationship between my wife Keisha and myself. It's been on hiatus for a while now, because I'm looking for a permanent webspace for my comic, and I'm experimenting with some different styles of illustration that would make my process easier.

2. Do you have a "routine" for when you draw (i.e., make a pot of coffee, do sketches first, etc.)?

I have no routine when I draw. I just get an idea in my head and I go crazy until I have a chance to get it out on paper.

The most helpful thing for me is a playlist of MP3s that help pass the time. Songs help me focus my ideas on what I'm working on, rather than on all the other thoughts and static that I'm normally filtering.

If I have trouble drawing the comic, I usually draw in another scrapbook that I keep nearby my work desk.

Of course, the most regular event in my comic making process is the dogs whining to go outside for another walk!

3. Other than pen and ink, do you use any other type of media?

Right now I'm experimenting with different types of coloring and media in Sticky Rice.

I use Sharpie Pens, which are nice and thick, to do the outlines of Lucien and Coco.

I used to do a lot of retouching using Gimp and my PC, but I want each comic to take less time, and maybe be a little more sloppy-looking. It's a journal comic, so I want the strips to fit in with my current events rather than linger in my mind until I eventually mange to scribble them out.

Nearly all of the other artistic work that I create involves a serious amount of mixed media and, when it comes to comic making, I've been feeling way too myopic about working with just pen and pencil.

1. What has been the greatest help to your art? (influences, people, training)

There are many wonderful art museums and galleries in the greater D.C.
area. Seeing those works in person is inspiring. The Stackler Museum
is one of my favorites. Meeting other artists has also been critical
to my development. My friend and local artist Steve Loya has had the
most influence on me in recent years. He's introduced me to a variety
of styles, media, techniques and tools, even if it's just to dabble
in.

2. What resources do you feel are essential to selling artwork?

I rarely sell original artwork. The few pieces that I've parted with I
sold at comic shows and a few auctions for charity. However, I am
planning on selling more works this year because they are starting to
accumulate. For that, I plan test a few local galleries and see how
that goes.

3. If you could go on all expense paid drinking binge for three days
with three historical figures (an artist, a writer and one free
choice) who would you choose for drinking buddies?

Alex Raymond, H.G. Wells and Andre the Giant. Raymond's 'Flash Gordon'
pages were one of the most beautifully illustrated strips of all time.
You have to see an original to truly appreciate his work. Re: Wells,
I've always enjoyed science fiction set in the Victorian era. His
works were genius. As far as Andre the Giant goes, he was larger than
life. Just his presence would stop anything. And his drinking binges
are legendary!

You have a wide variety of work in your portfolio, but a very distinct style throughout. Is there an influence there, or just something you developed over time?

The role of a freelance artist is to bring other people's ideas to life and so I adapt my style to the requests of my various client's. Most of the time my, however, my distinctive style still shines through. It has certainly been something that I have developed over the years but I am also sure that the stuff my dreams are made of has been influenced by the artwork of many other artists who I admire (including Matt Groening, Bill Watterson, Jim Henson, Tim Burton, and others).

What is your favorite medium to use when creating a piece. And does it depend on the project or request of the customer?

My favorite medium to work with is a Wacom tablet and my computer. I love the ability to "zoom in" for detail work and "undo" mistakes. However, I also really like traditional acrylic on canvas and the thick, chunky textures you can build up. It's also fun to experiment with other mediums so I guess it really does depend on the project or client.

Being a freelance artist, what is the easiest/hardest/most rewarding part of your job?

Being a freelance artist has both it's challenges and rewards. The easiest part for me is creating the actual artwork. The challenging part is the constant promotion, billing, contract negotiation, and all the other aspects of running a business. In can also sometimes be a challenge to figure out exactly want a client is after. (It helps to have a bit of ESP.) However, I very much enjoy being able to set my own schedule and be my own boss, not to mention the short commute from bedroom to home studio. The most rewarding aspect, however, is that I am lucky to do what I enjoy and be able to make a living from it.

The weekly spotlight on the people behind the D.C. Conspiracy continues with Rebecca Simms!

1. When did you first start combining your writing and drawing to create comics?

When I was younger I wrote my first comic inspired by the children's books "Frog and Toad" by Arnold Lobel. I came up with my own two characters, slugs instead of frogs (and toads) and wrote and drew an adventure of the two protagonists in a "Sword in the Store"-themed story. I was 9 years old; I think my mom still has the original copy.

It wasn't for quite a few years later when I got back into writing and drawing comics again. Coming up with the stories for my current comic, Girl Ninja, my old roommate and I would sit around and rant about really girly situations, and then reply, "Hey, wouldn't that be funny if Girl Ninja did this..." then insert a funny scenario where Girl Ninja hacks up someone's cell phone with her Katana. Currently, I am working with a new writer for my comic. This helps relieve my schedule and adds some new perspective and fresh faces to my comic, along with a lot of my own input, while I continue to write for other comic projects I have.

2. Women in comics are still a minority (though there are tons of examples of those who work in the field being at least as equally talented) - do you ever feel like this hinders or helps you?

Well, I wouldn't say it's a hindrance. There's no task in comic-making that requires any specific gender, I would think. That just stems from the same argument that there are fewer females in the world of gaming. Of course this has changed greatly over the years, as the typical roles have been crossed. It's becoming more common and culturally acceptable for women to have a strong influence in comics and in gaming and other counter culture activities and lifestyles.

I believe it can also be a help. Since there are fewer women in the comic industry, I think it brings on a lot of encouragement and support to do well and succeed and, in turn, bring on more women with them same interests and passions. I personally have not felt the hindrance of my gender, but don't know many other females that share the same love and appreciation of comics. They are out there. It won't be long before we see more and more women enter the comic scene.

3. What goals, both short and long term, have you set for yourself when it comes to your comics?

Short term goals: try to stick to my schedule better. It sounds simple, but prioritizing is very important when working on a comic. Especially one with a deadline. My goal this year is to have my pages for my comic, and other projects, done on time and in a quality controlled fashion.

Long term goals? First, finish Girl Ninja book 2 by the New Year, and work on book 3. I'd also like to work on more projects in the DCC group and have already started writing pieces for the next two anthologies. This goes back to my goal of being more organized and sticking to a schedule. VERY IMPORTANT, kids!