illtiki

Three Days/ Whores /Ain't No Right /Pigs In Zen /Then She Did... /Up The Beach /Mountain Song /Been Caught Stealing /Ocean Size / Ted, Just Admit It... /Encore: Summertime Rolls /Had A Dad /Stop! /Jane Says

Home / Somewhat Damaged / Wish / March of the Pigs / Piggy /Metal (Gary Numan cover) / I'm Afraid Of Americans/ Head Down/ Burn / Gave Up / La Mer / The Fragile/ Non-Entity/ The Downward Spiral / Survivalism /
Suck / Hurt / The Hand That Feeds / Head Like A Hole (with Eric Avery))

Fight! Smash! Win! /Somewhere In The World It's Midnight /Paper Planes (M.I.A cover) /The Oath /100 Little Curses /Promenade / Nobody Moves (Til We Say Go)

It was the last night of their shared tour and I'm glad we had a chance to see them all.
peace,
Herc

This was originally done for a Comic News Site. Unfortunately, it never ran. So, here it is in all it's glory.

I was fortunate to have met Andrew Robinson while we both attended the Savannah College of Art & Design.  We became friends shortly afterward. I had a front row seat when he started in comics with Dark Horse Presents.  He then went on to draw issues of Barbwire, Steel, X-Men and Gen13. He then reinvented himself when he created the cult hit Dusty Star. During this time he also became a sought after cover artist.  His paintings graced the covers of Starman and Hawkman. He also had a brief cover stint for Detective Comics, as well as, numerous Starwars covers. He quickly became an artist others were inspired by.  Don’t take my word for it.  Here is what others had to say about Andrew Robinson:

Jason Latour (Expatriate, 24Seven, Popgun): Painter, storyteller, cartoonist, musician, warrior poet... Andrew has more talents than you can name.  Yet, his greatest talent may be that he possesses that rare ability to make the most thought out and educated choice seem effortless, as natural as breathing. His work is a crash course in zen cartooning.

Rick Remender (Fear Agent, Strange Girl, Crawlspace etc): Andrew Robinson's work found me at a time when I had almost given up on comics. 
There was a glut of horrible shit being slung out in the mid-nineties and to see someone with his nuclear level chops doing such gorgeous and inspired work on a 
creator owned... it inspired me to follow suit. So on second thought, curse you Andrew Robinson!

Shawn Crystal ( Bloodred, Resident Evil): Andrew has a rare grasp of the medium of comics, and has a true voice in his art. There are no limits 
to his craft. He understands what it is to be a cartoonist, while being able to shift gears as an illustrator and painter. He has a true understanding of 
what his roles are in the work he creates, which is rare in these days of the misguided comic book artists. If I am coming off as preachy, then fine! 
Andrew has not only been a friend to me, but a mentor. I was an intern of his, and got to know him and his work on a more personal level than most. 
I am lucky to have had that experience, it has made me a better cartoonist, as his work has done for so many. Cheers to Andrew, the unsung hero of cartooning.

I got a chance to sit down recently with Andrew.  What follows is what came out of that conversation. 

Why don’t you start off by telling us how you got your first comic work in Dark Horse Presents?

 It was 1993 and I was finishing my senior year at the Savannah College of Art and Design. I was married with a baby girl and it was time to work. At that time I was taking regular trips with Doug Alexander Gregory to visit Gaijin Studios in Atlanta. I would bring b/w copies of my work to show the guys and get feedback. At that time Cully Hamner was scheduled to be the artist on a DHP story called “The Chairman.” However he had just signed on to pencil the Green Lantern Corps and wouldn’t have the time for the short story. So he gave me a break by passing it along to me. I followed that with another short story called “A breathe of Fresh Air.” I feel I really improved from one story to the next.

After you did those few issues of DHP, you then went to work on a few fill in issues for Dark Horse, Marvel and DC.  Was landing on a series a goal for you at this time?

I thought so. But God was I wrong. The tough realization is that to work on a monthly book you have to be super fast and make a lot of concessions. For a guy like me it was a train wreck. I’d rather draw a few really good books than a bunch of crappy ones.

How did the Starman cover gig come about? 

It seemed like you enjoyed working on them. At the time I was a member of Jolly Roger Studios. When Tony (Harris) found himself too busy to continue as cover artist on the series I happily scooped it up. There was a lot of freedom to experiment with design and subject matter. Those covers established me as a respected cover artist.

You also went to work on Hawkman and Detective covers. Was there a lot of Editorial direction or were you allowed free reign?

Sadly on the Hawkman covers I didn’t have the same freedoms as on Starman. It was hard to stay interested with all the restraints put on me. Then I just destructed and it was all over. With the Batman covers I chalk it up to the assistant editor who was just a complete idiot to say the least. I worked my ass off on those three covers (and I was on time) only to get fired with out the decency of a phone call from the editor or assistant editor. After not hearing from them about the fourth cover I called to find out that no one liked what I had done. But I’d like to say thanks to all the fans who loved what I had created.

I remember the first drawing you did for me of Dusty Star.  At the time I’m not even sure she had a name.  One thing that jumped out at me was the art style.  When you started doing sequential work I always felt you had kind of a cross between Walt Simonson and Moebius, but with Dusty and subsequently the Gen13 one-shot; your art took a drastic turn.  Was this a conscience effort on your part?

What caused you to refine your style? I became heavily influenced by artists like Jaime Hewlett, Alex Toth, Mort Drucker, Mike Mignola and Mike McMahon. I was starting to understand the beauty of simplification and animation.

Dusty Star started out as short stories in Negative Burn. It was a short time later that Dusty Star became one of the initial titles of Jim Valentino’s Image Shadowline imprint in the 90’s.  How did you get involved with Image?

By proxy. Joe Pruett had the connection and there we were.

What was the spark that created Dusty Star?

Sergio Leone and his spaghetti westerns and a soldier girl named Misty. I knew her from my days in the Army. And so the woman dressed in black was born.

Dusty Star came and went so quickly but it left its mark on the comic world.  After all these years you brought her back.  After one beautiful color issue she’s gone again.

What does the future hold for her?  I know you briefly mentioned to me self publishing, is this, an avenue you are actively pursuing?

Oh she will be back. Probably to save my broken heart but picking me up off the ground and giving me a swift kick in the ass. I completed the script for another installment to the “Ain’t got no Friends” story which 24 pages. I will self publish through Brand Studio Press with my own imprint called Next Exit Comics. The books will be 46 page hard backs in full color. For the first one I will include the newest Dusty #1 with the next 24 page story. I hope to complete the 24 pages by the end of this year.

What was it like being a member of Tony Harris’s Jolly Roger Studio?

It was really good for me. We had a lot of great times. Sadly everything must come to an end. In 2001 I was in a real rocky relationship with my girlfriend. It was affecting me in all other areas of my life- even the studio.  I needed a big change to end it. This change could only be achieved through space and time which meant a move to California.

Did you find that it was easier to create being surrounded by fellow artists?

Of course. I like to feel other people’s energy especially coming from people that I respect. And that was another reason I had to leave. The new guys that joined the studio did not have my respect at all and I’m sure vise versa.

Do you think you’ll ever be in a studio environment again?

I’m in one right now. It’s a studio slash gallery. You can check it out at myspace.com/galleryattheendoftheworld. I’m the only comic book guy in there.

With your work on Halo and your fill in issue of Jack of Fables for Vertigo coming in October, you’ve stepped back into the mainstream world.  Do you think you will try to get more work for hire jobs?

I’m sure I will- got to pay the bills you know. That is until I survive on my own projects. I’ve got a lot to say.

What was it like working on Bill Willingham’s script?

Except for the tight dead line it was a real treat.

Being a fellow artist, were his scripts much different than what you are used to from non- artists?

 Not really- it was just a good script.

Brandstudios Press recently released Andrew Robinson goes to Zanyzonkerville. How did you get hooked up with them?  Did you like the finished product?

Alberto Ruiz sold me on it. I had met him the year before through John Beatty. I love the finished product. It’s one the coolest things I’ve ever done. That book is a real victory for me.

Many people don’t know that you’ve done a good bit of behind the scene work for the Cartoon Network. Can you explain exactly what you did for them and how the overall experience was for you?

I painted all the main characters for their new show Ben 10, which were designed by Dave Johnson. These paintings were used for the intro to the show and for marketing and product design.

Explain your work process a bit.  What tools do you use? What kind of computer set-up do you have?  That sort of thing.

I’ll use everything and anything especially when painting. But it’s mainly acrylic and gloss gel medium. I also use collage and magazine transfer. For creating sequential art I use my imagination with reference if needed. Ink and Scharff brushes, Sharpees and an assortment of Pigma pens and the slickest comic book paper I can find. Then I scan the line art and color it with Photoshop. Right now I have a Mac G4 but I just ordered the 15” powerbook laptop. I use the Epson expression 10000 XL scanner. And I use word to write my scripts.

What’s an average working day like for you?

Trying to get up around 10am from that delicious sleep where she’s with me. You know that girl that you want but the universe continues to keep you apart. And I don’t want to get up but I must. Then I go to the gym so I’ll be strong enough to go get her when the time comes. After that I go to the studio and either work on projects to pay the bills or I write and draw the stories that will one day bring her to me. I’ve got one hell of a romantic comic that I’ve been working on.

I know you’ve always loved painting.  What made you decide to dip into the Fine Art world with your gallery shows?  How is it working out for you?

It’s all because of her. She brought me to the gallery/studio where I work and then she left me there. Guess I had to suffer. After all those years of painting for illustration it was so refreshing and relaxing to finally paint for myself. I could finally say in all honesty that I am an artist.

On your website you have a song that was recorded from lyrics you wrote. Do you see yourself delving more into creating music?

Music has been waiting for me and now it is time. Again it’s because of her. I wrote that song for her. Currently I’m learning how to play guitar, piano and the harmonica. I just might join the band the Spacejunkies if they’ll have me. I’ve got a lot of practicing to do.

I know music is a big influence on you.  Would you say it helps push you towards the types of stories you want to tell?

Oh yes. Especially, Johnny Cash and Nick Cave. They preach the truth even when it hurts and it’s ugly. But the truth is all there is whether it’s art, music or love.

Have you ever thought about writing stories for other people to draw?

Not yet because I’m too attached to them. I write on a very personal level. And lately I’ve been writing for just one other person besides myself. For her.

How do you feel about other artists working in styles that you’ve inspired?

 I’m flattered to have inspired anyone. It’s the circle of life. Every artist is the product of every other artist who is and has ever been.

Who are some of your inspirations? In comics and without.

My parents, Gustave Klimt, Walt Simonson, Frank Miller, David Cho, Kathy Skaggs, my older brother, Frank Frazetta, Johnny Cash and June Carter, Nick Cave, Jim Royal, Doug Alexander Gregory, Suki, my daughter Alisha, Clint Eastwood, Sergio Leone, Moebius, Bill Watterson, Mort Drucker, Bob Peak, Jaime Hewlett, Guns and Roses, my cousin Danny, Sergio Toppe, Neil Diamond, and that blonde haired, brown eyed girl from far, far away.

Do you think you’ll continue to do more comics? What does the future hold for you?  

Yes I have lots of comics to write and draw. The completion of current Dusty Star story, the Space Junkies, Lost in the Punch, Magicland, Johnny Tin Shins which is a story I’m working on with Tony Harris and Ray Snyder, and maybe you and I can finish Red Light.

To see more of Andrew’s work check out:  www.nextexitproductions.net

Last night Sweet and I were fortunate enough to go to see the Cure.  I was pretty excited to see them since the last time I had a chance to see them live was on their tour supporting the Wish Album.  I have to say the show was awesome.  They brought so much energy and moodiness. The lights were beautiful.  And the crowd totally felt it and responded since most every one was out of their seats. There was a difference though for sure.  The touring band was a foursome consisting of : Robert Smith, Porl Thompson, Simon Gallup,Jason Cooper. If you're asking yourself, " Hey, I don't see a keyboardist?" hahaha You would be right.  This brought a whole new dynamic to a lot of their songs.  It was interesting to see them playing more keyboard intensive songs as a foursome. They more than made up for not having the keyboard by using the guitar.  Let me say, between Smith and Thompson they made even a songs like Lullabye and Lovesong (which are pretty keyboard heavy) sound amazing and new. The reworking of a lot of the classics, some almost 30 years old,  brought an added intensity to their sound.  So, while it was different, it was by no means less then great.  They played for over 3 hours, which included 3 encores.  Man,  Robert's voice was just on. Gallup and Cooper rounding out the percussion section were just solid. They played a wide range of songs from really old to tracks off of the upcoming album. Which sounded great. I'll get the setlist together when I'm more awake. I really wanted to hear Fascination Street, which they unfortunately didn't play. They did, however, play Charlotte Sometimes one of my all time favorites. The songs really brought back a lot of memories for me. Hanging with my friends back in Art School. Especially my roommate Scott.  He loved them.  He also turned me on to Fugazi. For which I am eternally greatful. People tend to make fun of the gloominess of the Cure, but for me I always heard the beauty in the music to make me feel alive. I always felt that even at their most morose the songs sing out of love. All in all a great show by a unique band. BRAVO!
Peace,
Herc

Setlist
Underneath The Stars, Prayers For Rain, A Night Like This, The End of the World, Lovesong, A Letter To Elise, Want, Pictures of You, Lullaby, From the Edge of the Deep Green Sea, The Perfect Boy, Hot Hot Hot, The Only One, Wrong Number, The Walk, Sleep When I'm Dead, Push, How Beautiful You Are, Inbetween Days, Just Like Heaven, Primary, Shake Dog Shake, Charlotte Sometimes, One Hundred Years, Baby Rag Dog Book

1st encore: The Holy Hour, Other Voices, Drowning Man, Faith
2nd encore: Freakshow, Close To Me, Why Can't I Be You?
3rd encore: Boys Don't Cry, 10:15 Saturday Night, Killing An Arab

Ok gang.  I couldn't wait until the printed comic.  I had to share the awesome pin-up my fellow studiomate Anthony Hightower  (fresh off of the art duties on Image Comics Gutwrencher series) did of Mr. Lune.  Here it is. Enjoy it.  I most definitely did.  That said it looks like I will have a new 20 page book of Mr. Lune ready for Heroes Con this year. woo hoo!!!!  Come see me at the 803 Studios booth. 
peace,
Herc