This week, our creator survey series Questionable Comics presents a double sized issue, as we speak with both Robert Carey and Johnnie Christmas. First up is Robert Carey, who works as a storyboard artist as well as a comics artist, with credits on series like Indifference Engine and the upcoming Project H.O.U.N.D.
What current projects are you working on?
Just finished a unique project for a Norwegian political magazine. I am working on a creator owned title called Project H.O.U.N.D. It mixes Celtic mythology with mecha and kaiju.
Use one word to describe how you work.
Hectic.
What’s your workspace like?
Messy, but organised.
What do you listen to when you work?
When doing layouts and thumbnails I have a playlist of really shitty songs. This is so I have background noise while I work. Podcasts and stand up comedians usually when doing perspective grids and pencils. Something interesting, but not too distracting. When doing finished pencils or inks, I will watch a movie or tv show.
What’s the best advice you’ve ever received?
Being creative is all well and good, but to be successful you need to treat it as a business. Be professional, polite and meet deadlines.
How do you get into art mode?
YouTube clips of artists working. Either digital painters, or someone inking. Watching someone being creative really helps kick me into art mode.
Is your work paper or digital based?
It depends on what mood I am in, or the requirements of the brief. Both are just different tools to do the same job. For personal work it’s hard to deny the pleasure of getting your hands dirty with traditional inks on paper.
Some of that hand dirtying ink work Robert refers to
What’s the one thing you wish you could improve about your work?
Everything. No artist I know is ever satisfied with their end result. It’s the motivation that pushes you to your next piece.
When’s the best time to work?
For me personally, the earlier I get up, the more hours I have in the day to draw.
Who do you consider to be inspirational creators in your field (classic and modern)?
Sean Gordon Murphy. His work has so much style and energy, his storytelling exceptional. His work ethic. The dude is a modern legend. Stephen Mooney. His art is fantastic, and he produced one of the best creator owned titles in years. Mark Millar, if not for his work on The Authority, and then The Ultimates, I would probably not be trying to pursue a career in comics.
Johnnie Christmas was recently announced as the artist for Margaret Atwood’s comics debut Angel Catbird at Dark Horse, and has also collaborated with Ed Brisson on Sheltered and Kurtis J. Wiebe on Pisces, as well as providing covers for a number of series and contributing to the Image comics anthology Island.
What current projects are you working on?
Firebug a series that runs in Island Magazine (Image Comics). Plus something else that hasn’t been announced yet (don’t you just hate when people say that).
Use one word to describe how you work.
Intuitively.
What’s your workspace like?
Little stacks of books, for reference, rising, falling, seemingly propagating new stacks of their own. All swirling around a big open desk
What do you listen to when you work?
Interview podcasts mostly, tons of NPR.
Musically, lately, I’ve been listening to lots of Alabama Shakes, Beach House and Killer Mike.
What’s the best advice you’ve ever received?
“Don’t stop moving your hands.”
How do you get into art mode?
I putter around, or draw backgrounds. I just keep drawing until I enter a valley of inspiration, what some call “the flow.”
Is your work paper or digital based?
Paper, but I’m gonna start experimenting with some digital aspects in coming months.
A powerful sequence from Pisces, Johnnie’s series with Kurtis J. Wiebe at Image
What’s the one thing you wish you could improve about your work?
Oh, that’s a trade secret, my friend, haha.
When’s the best time to work?
Night time, always.
Who do you consider to be inspirational creators in your field (classic and modern)?
Jaime Hernandez and Otomo Katsuhiro are the main inspirations that come to mind.
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