Hello everybody out there in computerland!

While not a whiz at this thing (my wife Nikki types up all this stuff and maintains the site) I've decided to go all interactive and add a question and answer section which I promise to update every week or so.

If you would like to email me a question please Click Here

These first four questions are the ones I am most often asked, so if we get these out of the way first, it'll save hours of typing the same thing on emails and that:-

Some questions from May 2006 - May 2007

----- Original Message -----
From: Dan
To: glennfabrystudios@yahoo.co.uk
Sent: Friday, August 11, 2006 11:09 AM

Hi, im contacting you on a whim to be honest I don't really expect you to reply :) I bought your book Anatomy For Fantasy Artists yesterday and find it very helpful, but im really stuck on drawing the human head, like the build up to the end finished face. I was wondering if you knew of any great tutorials or what you used to learn when you started out.
Thanks for taking the time to read this

Hi Dan
sorry for the ludicrously late reply but have been in deadline doom for ages
and am just catching up
your own face in the mirror is your most convenient model. Also it's a good idea to get a little sculpture of a head and draw it from any bizarre angle you can. get some of those little footballer portrait dolls -- they are generally very well made. Twist them about in your hands and find a really difficult angle, now draw a line that would link the eyes together and construct your drawing round that.
Cheers
Glenn



To: glennfabrystudios@yahoo.co.uk
Sent: Thursday, December 14, 2006 12:42 PM
Subject: Speedball 2 artwork

Hi Glenn
Im a big fan of your artwork and would love to track down the original piece you did for the videogame cover Speedball 2.
Do you have any idea what has happened to this piece? I realise its a long time ago but I’ve always liked this particular image.
I know its a long shot but thought it was worth a try. Any help greatly appreciated.
Many thanks

Keith

Hi Keith
sorry for the terrible delay - have been in deadline doom!
I've no idea what could possibly have happened to this painting. I think they kept it.
glad you liked it though and all the best
cheers
Glenn



To: glennfabrystudios@yahoo.co.uk
Sent: Friday, January 05, 2007 7:59 AM
Subject: fantasy art

Hi Glenn.

(I'd appreciate it if you gave a reply, thanks)

I'm a sixteen year old living in Australia. I have always loved drawing and am now taking a great interest in comics (especially Samurai related comics). I however am at a standstill with my drawing, because I am a huge perfectionist and am unshore of what I should be exactly practising in my sketch book. Should I be drawing the things I love more often than those of the real world etc? But what I am most interested in, is what should I be drawing if I want to create a character; should I draw the figure and then a serries of facial expressions etc?

I would also like to know if you experienced this in your early days!

ps. loved your book on 'Anatomy for the Fantasy Artist'.
from Daniel.

Hi Daniel
sorry for the terribly late reply but I have been really busy for the past couple of months and haven't had a chance to catch up with my emails.
My advice would be though - draw the things you love and enjoy it. When I first started drawing stuff, my stuff was all about cartoons, but when I started work on comics I became serious about studying anatomy in order to get the effects I wanted. So look at it practically, and learn what you want to achieve.
Creating characters: I start with an idea of how I want one to look, and then with the repetition of drawing them over and over as they feature in the story they become more and more like they're supposed to be.
For example: compare the early Asterix the Gaul to the later ones - that sort of thing.
Hope this helps!
All the best
Glenn

To: <glennfabrystudios@yahoo.co.uk>
Sent: Saturday, March 10, 2007 10:18 PM
Subject: Advice on illustrating comics

Glenn,
Hi my names Jake. At the moment I'm in my first year of an illustration
>degree, with my main ambition after I leave being to enter the world of
comic illustration. I was hoping if I could pick your brains somewhat in
order to further my understanding of the comics industry and the best way
to get involved. So if its not too much trouble I have some questions I
would like to put to you, as I am a huge fan of your work (especially the
Preacher and Hellblazer covers). I know you obviously have a great
>knowledge of the industry and any info you could give me would be
fantastic.
Cheers and keep up the good work!
Jake

1)What advice would you give to someone putting together a portfolio when
aiming at the comics industry?

5 to 6 pages of sequential artwork, with action, backgrounds and some
conversational thing.

2)Is figurative drawing the main priority?

It helps! Focus on your strong points - if you do good cars do a car chase
for example.

3)In which area of comic illustration do you feel there is more creative
freedom?

Probably Europe I'd say!

4)How do you think an illustrator should go about publishing their own
work?

Ask Liam Sharp

5)How easy is it to make a full time living from comic book illustration?

not easy with the horrible exchange rate!

6)Within the industry today is it important to be skilled in more than
simply a pencil? are other mediums essential?

It depends how good you are with a pencil!

7)As the use of computers is becoming more prominent within art, is this
an avenue that an illustrator will soon not be able to do without?

Hm. I can't use a computer!

8)What pitfalls should a new illustrator look out for within the industry?

Try to avoid being ripped off.

9)Do you believe an agent/manager is required early on within a career?

I've never had an art agent or a manager. Now I think I need one!

10)Any general advice for someone breaking into the comic book industry?

Be prepared for long anti-social hours



From: David Godfrey
To: glennfabrystudios@yahoo.co.uk
Sent: Sunday, April 08, 2007 11:20 PM
Subject: Slaine art

Hello Glenn
Do you have any Slaine or judge Dredd original art for sale
Thanks
David

Hi David
sorry for the very terribly late reply. have been so busy the least few months and it doesn't help that I can't use a computer at all!
but sorry - all sold out!
cheers
Glenn

hi glenn this may seem like an odd e mail but im trying tocontact ian salmon who wrote a beutiful short storie called waltz which was fabulously illustrated by your self,about 15 years ago. the reason being that ever since i saw it ive thought it would make the most fantastic short film, and having spent the last 10 years working as a director of photography i now have a very pushy producer telling me to direct, and i thought this awould be the perfect peice to start with. now ive got the rambling explanation out of the way i was hoping you may be able to help point me in ians direction to ask his permision or find out who holds the wrights,. iknow its going back a long time but if you can help it would be much apreciated
thanks
pete rowe

Hi Peter
sorry for the very terribly late reply. have been so busy the least few months and it doesn't help that I can't use a computer at all!
It appeared in revolver I think at some point before the invention of electricity.
I've no idea how to contact him: he did phone me after it cam out in print to say how much he liked the job I did on it and how the story was based on a hyper realistic dream he had about his Granddad who had just died. I was so touched by this I gave him the artwork. He didn't actually appear interested in writing any other stories either. maybe the people at Rebellion who own 2000AD may have some idea. Failing that I am afraid I can't help.
cheers
Glenn

A request for info from Sebastien Dumesnil, Top Two Three Films

www.toptwothreefilms.com (2005)


1) Can you tell us about your background?

I'm a 44 married, father of two from England

2) In the film, we discuss the nature of comic books. Can you tell us what, for you, a comic book is? What are the strengths and ideas you like or intend to explore?

for me comic books are like making a movie with you as the director, cast, special effects & wardrobe manager, budget no problem

3) There is a debate about the nature of the growth of comic book sales in the early 90s and the subsequent recession. Would you qualify these events as a boom followed by a crash, or an aberration followed by a “back to normal” situation? Why? In the case of a boom followed by a crash, do you feel that the small press was hurt during the same period?

what killed off comics in the 90's was the arrival of specialist shops which took comics away from the newsagents to kids didn't see them or get into them earlier

4) In contemporary comics, storytelling tools like thought balloons or captions are mostly absent. As an example, John Byrne told us he stopped using captions when he realized that readers did not read them. Do you think that these tools are now also perceived as a stigma?

don't know what top say - i suppose it's an attempt to make comics more cinematic. I still read them if they are free.

5) In the 90s, we saw the rise of digital lettering and colouring. Nowadays, there’s even this new trend of digital inking that people like Tim Townsend dislike a lot. What do you think about the use of these digital tools in the making of print comics?

If it's done well it can help a lot but sometimes the modelling effects can fuck up your work

6) In the film, Chris Gossett says it is a very tough gig to try to make an original graphic novel and sell it on the American market. How difficult is it nowadays to sell an original graphic novel in the US if you’re not Alex Ross or Neil Gaiman?

don't know - I haven't tried it yet

7) In the film, Scott McCloud says there are more golfers in this country than comic book readers. By right, we should be able to sell comics about golf, but it’s not happening. Do you feel there is an issue of diversity going on?

damned golfing scum! kick them back to the bunker those cheese eating surrender monkeys

8) Do you think that it is now easier for kids to find printed comics or to find webcomics on the Internet? For you, what is a webcomic? Why would people read them?

despite having a website and answering emails I can't use a computer. I can't spare the time to learn right now.

9) In the film, artists like Patrick Farley and Cat Garza say they make webcomics because publishers would not touch their work, because it’s too offensive, different, etc. As an example, Patrick talks about his Apocamon webcomic, a Manga style rewriting of the Book of Revelations. Do you think that the Internet could be the next logical step of the comic book for artistic or business-related reasons?

if there's a way of making money from it I say go!

10) Finally, do you think that the tactile experience of holding a book in your hands is necessary to the comic book reading experience?

You can't read a computer in the bath without risking death by electrocution. You could do print outs but I suppose there's a juggling element involved.

all the best Glenn

Another questionnaire from British SF Comics Heroes Query from Eagle Flies Again - July 2005

NAME: Glenn Fabry

CURRENTLY WORKING ON: Neverwhere for DC Vertigo, covers for kev Authority

WEB SITE (If applicable): www.glennfabry.co.uk

WHAT'S YOUR FAVOURITE SF COMIC CHARACTER OF ALL TIME?

Storm by Don Lawrence is amazing, also Den by Richard Corben & SF by Moebius.

WHAT'S YOUR FAVOURITE SF COMIC STRIP THAT YOU'VE WORKED ON?

The only real SF I've done is Dredd

WHICH COMICS ARTIST BEST KNOWN FOR THEIR SF STRIP DO YOU MOST ADMIRE?

Don Lawrence

WHICH COMICS WRITER BEST KNOWN FOR THEIR SF STRIP DO YOU MOST ADMIRE?

Joss Whedon

DO YOU READ SCIENCE FICTION OR FANTASY?
IF SO, WHO'S YOUR FAVOURITE AUTHOR?

Michael Moorcocks Jerry Cornelius Novels, The Dancers at the End of Time
Trilogy, Hitchhikers Guides

IF YOU COULD WORK ON A COMIC STRIP BASED ON JUST ONE SF TELEVISION SERIES OR
FILM, WHICH WOULD IT BE?

Barbarella!!

THE RETURN OF DOCTOR WHO -- A GOOD OR BAD IDEA?

I'm enjoying the new series
but the writers best bits are the real life bits - like when the Tradis got
tagged - well it would wouldn't it!!

IS STAR TREK DEAD OR JUST RESTING?

It will probably be resurrected at some point but I can never forgive the
Next Gen movies - -especially when the last series was so good (- the Next
Gen series not voyager or the other one) (or the other one with the theme
tune).

all the best
Glenn

Dylan Humphries Monday, August 22, 2005
Subject: Just wanted to say thanks...

...lovely email abridged to the last paragraph

If you play guitar, or if any of your kids take it up.. and you ever
need any work or repairs done to your instruments - send it up to
Bristol and I will do it for free. I suppose that is the only way I
will be able to pay you back..

Your humble servant,

Dylan Humphries... Thanks man.

Thanks very much for your message

It was a complete pleasure to read.

When I went to art school back in the seventies (I'm 44 now) - I was really
expecting someone to help train me in technique but the first thing I got
walking through the door was a tutor informing me that photography had
killed the need for drawing and painting and that all comic strip work was
ugly. The only thing that I was particularly good at was redundant and far
from helping me achieve my aims, I got a lot of instruction about things
like applying fat gauche and letreaset, all of which are now useless because
of Photoshop or whatever.

There were only two teachers at school that gave me really useful advice and
they were both in their seventies.

I did like the rest of art college though, it was all punk rock and alcohol
and looking really, really stupid, but I kind of followed the course you
seem to be taking and raided the library and taught myself. That;s why I
don't care about telling people how I achieve certain effects whatever,
because creatively art college was such frustrating time for me.

I did play rhythm guitar in a short lived and bloody awful punk group called
The Electric Pigs. We did two dreadful gigs and then split upbecuase the
lead singer (who used to dress in a dinner suit, croon the songs and try to
shake the hand of all the people spitting at him) moved to Australia.

Now I can only remember how to play an etude by Bach and Tie your Mother
down by Queen.
I did know the Stranglers quite well. I did a comic strip for them before
2000AD.

Thanks again for your message, I'm glad you like my stuff. I'm doing a lot
of American comics at the moment and it's going pretty well. All the best
mate, you should do very well with the guitar building. I knew a bloke who
made cellos for orchestras and he's worth a packet

all the best
Glenn

Dear Mister Fabry
What ever happen to Daredevil/Bullseye:Target?
I know there's a #1 but I was kinda waiting for the Trade paper back to get it all in one volume.
BULLSEYE is my favourite comic book character and I was wondering if you had any left-over sketches/doodles lying around if so how much would it cost me to purchase said pictures?

Yours sincerely......
Dave.

Hiya

last I heard the scripts been finished but they might be giving it to another artist as I've got a big vertigo book on to finish

In fact I must try to contact Kevin Smith

all the best
Glenn

Nathan Bell
Sent: Tuesday, July 12, 2005
Subject: I need your help with my drawings

Okay Nathan

You could tilt your drawing surface slightly to the right, or you could work
on an easel, stepping back every now and then to check. Or you could scan
them onto your computer and tilt them back digitally.

Hope that helps!
Glenn

Sent: Thursday, August 11, 2005 11:39 PM
Subject: Slaine and other fully painted interior work.

Hi Mr. Fabry. I am a big fan of your work and had some questions concerning your past assignments. I have seen some pages on sites about original art by you that appear to be fully painted pages for Slaine stories. I was just wondering where these fully painted pages were printed. Can you help me out, I would really like to find them and check them out.

Also, do you ever plan on doing any other fully painted projects or an artbook collecting your wide variety of painted comic covers and illustrations?

thank you for your time
-Tom Travers

Hi Tom

there is a book called Slaine Demon Killer which Titan books made a collection of. I've also seen French language versions (and Dutch too!") - there's a collection of my Preacher covers called 'Dead or Alive' but any other compilations are unlikely. There are a few in vertigo visions I suppose (a vertigo art book)

all the best
Glenn

AGATANGELO OLIVEIRA
To: glennfabrystudios@yahoo.co.uk
Sent: Sunday, March 27, 2005
Subject: kIND OF ACRYLICS

hello
I have got a question.
What do u make to obtain degrade tons and highlights?

agatangelo

Sorry for the outrageously late reply

I have been in deadline doom and haven't been able to keep up with my emails

I use a wash technique with acrylics - make the paint quite watery with a large brush and wash over your picture (see the how to section on my website)

Cheers
Glenn

From: Andy Gibbons
To: glennfabrystudios@yahoo.co.uk
Sent: Wednesday, August 17, 2005
Subject: Hello Glenn

Hi Glenn, just been having a dekko at your site... Big Slaine fan from years ago. I met you in a pub in Preston long time ago, it was a do that Brian Talbot had going at the time (usually a good session)
I do 3D character modelling and animation, (not done anything proffesionally for aaages) I wondered if you have ever done any or if that side of things interests you? Your painting style would be fantastic for texture maps that are applied to models and your anatomical skills make me think you would make a great modeller. By the way, my favourite ever frame of yours was when Slaines (girlfriend?) walked off into the sunset with his child, (can't remember the character names any longer)... I think it was the next frame where Slaine was left watching them disappear.... Brilliant! I loved how you managed to take him from an axe weilding freak to a sensitive caring type in the turn of a page. Always loved your stuff...

Cheers Andy Gibbons

Hi Andy

My mum kept that page - it's on the wall of her living room.

all the best

Glenn

From: Troy
To: <glennfabrystudios@yahoo.co.uk>
Sent: Sunday, August 07, 2005
Subject: Commissions?

Hi Glenn,

Been a big fan of yours for a while. Love your Preacher and Hellblazer covers. I was just wondering if you do commissions for comic book proposals. And if so, what is you rate? Thank you for your time and keep on kickin' ass!

Troy

Hi Troy

I do accept commissions but they are pretty much taking a back seat for the
next 7 or 8 months I'm afraid as I am working on the Neverwhere project

all the best
Glenn

From: daulton
To: <glennfabrystudios@yahoo.co.uk>
Sent: Wednesday, June 01, 2005 3:20 AM
Subject: A Quick Question

Dear Glenn Fabry,

I am an aspiring writer desperate to break into the field.

I have a sci-fi fantasy series written, but I know now artists, nor do I have a way of meeting any, and companies don't take creator own script submissions.

Do you have any suggestions on how I can hook up with artists with whom I could collaborate on this project?

How does a writer break into this industry? Most publishers don't even accept submissions from writers.
Am I doomed? Should I just give up now?

Although I haven't broken into the comic industry, I have sold nonfiction articles (FilmFax Magazine) and short stories (Writethis.com, Opium Magazine) and maintain a position as a regular contributor to several prominent websites (Popmatters.com and Aint-it-cool-news.com).

Thanks for your time,
Daulton
Hi Daulton

sorry for the late reply - have been in deadline doom

Your best bet might be to write to other writers or to go to some of the
conventions and see of you can have a word. I know the comics industry seems
like a closed shop. Try talking to or emailing Liam Sharp, he's got a
publication called Event Horizon which is open to all comers. Keep being
published

sorry I can't be more helpful

all the best
Glenn

From: "ben ..."
To: <glennfabrystudios@yahoo.co.uk>
Sent: Tuesday, July 26, 2005 9:37 AM
Subject: Just a Question.

I'm sure you get these a lot, but I am yet another fan who has an interest
in what you do. I've been collecting comics since I was a kid and have
seen a lot of your work. I have the entire Preacher series, some covers you did
of The Spectre, etc., etc. I am originally from England but moved to the
U.S. when I was young, and now I attend the studio art school at U.T.
Austin. To be perfectly honest, I absolutely hate what I'm doing, and I
would love to know how to get into the comic world. I can't afford to go
to any technical schools, but I would more than anything want to be able to
do comic book artwork. I am stuck with pretentious modern artists teaching me
as professors, and I am forced to create abstract sculptures, paintings,
and what not just to get my degree -- which makes me extremely unhappy. The
schooling I'm receiving allows me to practice technical skills and take
some life drawing classes and other things I enjoy, but despite this long back story, I will digress and get to the point-- I am wondering if you had any advice, any advice at all, as to how I can escape the bullshit art world I am catering to and actually do something I enjoy-- that being comics. Anyways, if you get the time, I would love it if you sent me a few lines with some insight into your own world of art. Thanks for your time.

Ben Levy

Hi Ben

sorry for the late reply - I have been in deadline doom!

I had the same things at college myself.
Do as much life drawing as possible - maybe even attend adult classes -
there's always some somewhere.

Tell you what, next best thing is a DVD, I'm always using them for
reference.

Do a comics sample, four pages should do it; if you're short of a script,
just use any old scene from a comic and draw your treatment of it, then send
it out to as many writers and editors as you can find. In comics people
don't care about educational pedigrees, it's the work that matters.

best of luck
Glenn

I had the same thing at college myself

From: "Colin Harris"
To: <glennfabrystudios@yahoo.co.uk>
Sent: Monday, July 11, 2005 11:39 PM
Subject: Pens Pens Pens

Hi Glen. Thanks for giving us some great images over the years. One question I have is what pens do you use for your comic strips? Rotring? Pen and ink or Bic??

Regards.

Colin.

Hi Colin

it's those felt-tip Staedler pens you get from Smiths - 0.1, 0.3, 0.5, 0.7
and magic markers - and a lot of Tipppex

all the best
Glenn

From: Bryan Fowler
To: glennfabrystudios@yahoo.co.uk
Sent: Saturday, August 13, 2005 10:24 PM
Subject: artwork question
Glenn,

I'm a big fan of your painting and consider you a big influence on myself as an artist. I was hoping I could ask a couple of questions about how you paint. I've read through the tutorial on your site many times and it's been a big help.

Thing thing I wondering most is how you lay your paint out. For instance when you're painting a green ball and you're going from light overhead to shadow on the bottom do you mix a base green on your palatte and the mix say 4 seperate values up and down and then use those to build up the value or are you just using a say 2 or 3 values. A base and one to lighten and one to darken. This is the way I'm trying to do it and it's working ok but I can't seem to get that airbrush quality finish to it.

I hope I making sense and look forward to hearing from you.

Bryan Fowler
http://www.bfowler.com

Bryan Fowler
Professional Artist and Illustrator

Hi Bryan

If I was to paint a green ball I'd do a base colour of burnt umber, then I'd get a mid tone green and scumble the paint on the drawing and then I'd probably do a blue wash and after it dried I'd scumble some more mid tone green. Repeat the blue wash then keep repeating the process - the more times you do it the more airbrushy the effect, then get a lighter tone green, do the same til you end with the highlight in white

all the best
Glenn

Original Message -----
From: "maurice carter"
To: <glennfabrystudios@yahoo.co.uk>
Sent: Tuesday, May 24, 2005 9:09 PM
Subject: monograph!

I recently bought your monograph book and I think it is great. I used to draw from those mags when I was in high school and I thought I was the only one. Is that drafting tape on some of the edges of the pages? How large are those drawings actually? If you drew those any bigger than the size they appear in the book then you must have really drew you a$$ off.

Oh yeah, I think the woman on 120/121 is Amelia

Hernandez. Great work!

sorry for the very long delay - I have been under a really tight deadline
with Neverwhere

Hi Maurice

the drawing are much smaller in real life than they've been printed (I think
you are right about Amelia!)

Actually pages 86/87 are actual size, all of them are about that big. Yes it
is masking tape -all very low tech

Thanks!

Glenn

I really really want to know....
Whether the series of paintings (fror limited edition prints) that you began with 'The bride' for Out of the Blue (which was forever ago) has ever been finished, published or made available in any other form. Wasn't there supposed to be four in total?

- (Graham 20/01/03)

Ah yes! But Out of the Blue made the cardinal error in marketing - they took out a computer full page ad in Comics Journal so everyone had a copy already, it sold nothing and we knocked it on the head. Someone else did a print of 2 naked girls - you can see an image on www.britart.com fighting and all the prints went AWOL, and my third foray into this particular sphere is available on this website, and isn't exactly flying out the door.

C'est la vie

Glenn

----- Original Message -----
From: "joe lipton"
To: <glennfabrystudios@yahoo.co.uk>
Sent: Saturday, July 09, 2005
Subject: Original Art and Neverwhere

Hello Mister Fabry, I am a huge fan of your work. I was wondering if you sell any of your paintings. Also I was curious as to why Neverwhere isn't fully painted? It's bizarre, fantasy moments would be perfect as paintings rather than pencils.

Respectfully Yours,
Joseph Lipton

Hi Joseph

sorry for the very long delay in answering - it doesn't help that I can't
use a computer!

A fully painting comic, which I've done twice before (Slaine Demon Killer
for 2000AD (UK) and Batman - Judge Dredd Die laughing) takes a long time for
me and isn't as financially consistent with raising a family as drawing line
is.

A painted page would be three days to two weeks and most of the pages pf
Neverwhere have to be finished in a day(ish) to meet the deadline.

maybe if I win the lottery I'll go back to it!

All the best
Glenn

Hi Glenn. In a recent issue of The Megazine you have come in for some considerable flak for your involvement in the Batman/Judge Dredd crossover Die Laughing. Quite a few remarks about letting the side down on that job. Do you want to add anything to this or state your side of view?

Cheers Graeme Neil Reid (Monday, March 24, 2003)

Hi Graeme!
Heres your answer (sorry for the delay - have been busy)

The reason I took so long on the Batman/Dredd was this: My cover art career had started out and for 1-2 weeks work I was on $2000 per cover, paid in 2 weeks. A page of Batman however, was much harder work and would take me about as long to do, for £250 per page, and payment at that time could take month or more from Fleetway.
My big mistake was this; I was desperate to do a better job than Simon Bisley and I'd spend far too long on each page. My artistic head was up my artistic arse big time, and if I ever get that time machine working I'll send back some workers to pull it out. Basically I wanted each frame to be a cover, but had a mortgage, so I took on more covers to pay for that, and had less time to do the comic. The standard of my work was going well at the time and I hated being rushed but that's what the jobs about. I forgot that.
Glenn

I really really want to know.... yup, I sure do...

Oi, hail to the king baby... ;) You do some remarkable smooth blending of colors considering you're using acrylics, do you use any retarder medium?

Thanks,

Ken. (Ken Jeremiassen Thursday, March 13, 2003)

Hi Ken sorry for the delay - have been really busy

I don't use any retarder medium, there's a dry brush technique called 'scumbling' which basically means you dip your brush in the paint, with very little water involved, and sort of scrub the colour in. I generally go from dark tones to light ones.
When I first started using acrylics, I had a piece of artboard which I practiced techniques on, often using pencils, paints, crayons, toothbrush, hard bristles, soft bristles, whatever. It's not a painting of anything, I actually don't know where it is anymore, but I found out ways to manipulate paint without worrying about spoiling anything as there isn't anything to spoil.
Another tip: The size of the brush, and the force of your blending technique are all important factors and should be varied according to the result that you are aiming for. Also the direction you move to your brush in matters: try to mentally 'caress' what you're painting. Sounds weird? Try It.
Glenn

Hi Glenn
1 When did you know you wanted to be an illustrator?

When I was five I was good at drawing. It remains practically the only thing that I am better at than most people.

2 Who do you admire as an artist and illustrator?

JC Leyendecker, 20's and 30's American illustrator. His work has an almost cartoonish energy and his style is sublime. Living people I admire are Richard Corben and Frank Frazetta, Jack Davis the 'Mad' cartoonist (though I think he's dead now). I could rattle on in this vein for a day or two.

3 Where did you go to school?

Primary School - St Nicholas in Shepperton Surrey. Then Bishop Wand Comprehensive in Sunbury and finally Richmond Art College in Twickenham near London.

4 Is a formal art school education important?

When I went to art school it was the end of the seventies,20 years and a bit ago. The kind of stiff I was interested in - 'realism' basically - was dismissed as obsolete since the advent of photography, but I did find two old geezers there who taught me some fine rudiments of the draughtsmans canon. I must even be more obsolete since the invention of photoshop. To answer the question, yes I do think art college is important, but I would like to have had a classical training and not teachers just telling me to give up what I was interested in doing. Essentially I taught myself to draw and paint through books, but I had a great time there - punk rock etc.

5 Was your choice of school an important factor when you became a professional?

My choice of school - I hadn't built up a big enough portfolio to get into the ones I wanted I went to a local school that would have me a year early.

6 What are your professional ambitions

My professional ambitions! I'd like to do some stuff for the movies. Outside of that (there have been 4 movies that have never got to the filmng stage). I'd just like to improve my work. There's a guy called Don Lawrence who did his best stuff in his sixties and that's who I'd like to emulate. I want to work on a creator owned project I'm doing with my friend Alan Mitchell, we're looking for a publisher. Aside from that I just want to feed the kids and keep a roof over our heads.

7. Did you ever have to deal with rejection letters? If you did what kept you motivated?

When I first left college I'd take my portfolio around to art agencies and they would love to rip into it and leave my poor paintings gasping and bleeding from their ferocious attacks before telling me to get lost having wasted £3.50 of my dole money on a train tickets for the privilege.This went on for a year or two so I went back home to my mum and dads and decided I would write and illustrate a childrens book and hawk it around when it was done. I had a part-time job in a garage. When the book was 75% done I exhibited the paintings in my local library, and people asked to buy them so I sold my book of for cash. I have three paintings left. I was trying to do comics work at the same time but the comics I'd work for all went bust before my stuff appeared. For the end of my college degree, me and a group of friends had produced a fanzine which we printed and sold. My name got around in comics circles and I ended up working for 2000AD.

ALWAYS be in print and sign your name as big as you can get away with. people see it and that's how you get work.

8 What was your first professional job and what do you think of it now when you look back?

My first professional job was a cartoon for Ms. London a magazine that was given away at train stations. It was great but nothing special.

9 Within the comic industry who did you find to be most helpful when you were starting out?

See the end of answer number seven. The guy who noticed my stuff in the fanzine was Bryan Talbot, a great artist, who gave my name to Pat Mills, ex-editor of 2000AD and a great writer. Pat really got me my first pro comics gig. Garth Ennis pushed me to paint covers for Hellblazer at DC Vertigo, USA. I'd worked with Garth on 'Revolver' and 'Crisis' magazines in the UK. SO it's those three really and god bless them.

10 What is your opinion of the comic industry now from an illustrators point of view?

You can still make money in comics. Not so many people are buying comics anymore but there are high profile gigs about. The people who are good attract attention and are employed continuously, the ones that aren't are left by the wayside. The quality of mainstream comics illustration has risen lately because of this, but, for eh most part the quality was higher in the 60's and 70's, there are outstanding exceptions, like Adam Hughes and Travis Charest, Tim Broadstreet who've come along in the last six years or so. Alex is a millionaire now, he's done the posters for the Oscars last year. Bisley's doing a lot of private commissions. McKean has probably got some Goldfinger thing going on. Brian Bolland, Dave Gibbons and Kev O'Neill are still in comics. Lots of guys are still working in the computer games industry.

I'm still plugging away here, doing comic books again with the odd advertising or painting cropping up.

In April there's Thor with Garth Ennis for marvel and a computer game for Infogrames called Dungeons and Dragons:Heroes with my cover on it. I've two more books in the pipeline and my pitch to consider. I'm slightly too busy but that's the only easy to be if you're self-employed, long may it continue.

All the best and hope this is helpful.

Glenn

I really really want to know....
Whether the series of paintings (fror limited edition prints) that you began with 'The bride' for Out of the Blue (which was forever ago) has ever been finished, published or made available in any other form. Wasn't there supposed to be four in total?

- (Graham 20/01/03)

Ah yes! But Out of the Blue made the cardinal error in marketing - they took out a computer full page ad in Comics Journal so everyone had a copy already, it sold nothing and we knocked it on the head. Someone else did a print of 2 naked girls - you can see an image on www.britart.com fighting and all the prints went AWOL, and my third foray into this particular sphere is available on this website, and isn't exactly flying out the door.

C'est la vie

Glenn

I really really want to know....
Hi Glenn - I'm young in the comics world but I have to say that when I read through your Q and A section I came across an interesting question. Computers and their place in comics. Having painted and used the computer I found sitting in front of a computer to work tiresome. I started out painting and going through he frustrations of learning to draw properly and paint, and then I took a turn and moved more into computers. The downside is the satisfaction of not being able to look at a physical epic. Sitting back with a mug of tea and a cig, feet up and swelling up at what you have produced. On computer this never happened because it's not real as such if you know what I mean. So the basis of this email, stick to painting. Your one of the best in the industry and if I ever reach your standard I'd say goodbye to the machine (well apart from emailing and net purposes it serves i's purpose). regards Jim Brady (Warhammer artist)

- (James 04/09/02)

Very kind comments Jim. I'm intending to go on as long as I can. I do think I need a bit of training in the digital realm though and am thinking of working things up after I've done things on the computer just to be flash. I think this could work if done correctly. However, since I get a fair bit of my income from sales of original artwork this might have to take a back seat. My wife Nikki set up the website along with a couple of others and is the computer expert in the family. I can use (and do! it's very helpful) Poser and can play 'Scooby Doo and the Night of a 100 frights' on Playstation 2 however.

Glenn

I really really want to know....
Hi, I'm an aspiring artist (I'm only sixteen) and right now have a small degree of skill in pencil and ink art. However, what I'm really trying to do is learn how to paint. I was wondering if you could describe to me how you go about the process of painting, what you use, etc. and the steps you take. I realize it might be a silly question, but I have no idea how to start painting and would really like to. Thank you!

- (Phil Graham 28/09/02)

Dear Phil - sorry for the late reply. I have been up to my eyes in it!!!

I did a walk through of a painting on my website which may give you some tips about technique. I use acrylics, basically because of speed. If you need more feel free to ask.

Glenn

I really really want to know....
HI Glenn, I'm young in the comics world, but I have to say that when I read through your Q & A's section, I came across an interesting question. Computers and their place in comics. Having painted and used computer I find the thought sitting in front of a computer to work tiresome. I started out painting and going through the frustrations of learning to draw properly and paint, then I took a turn and moved more into computers. The downside is the satisfaction of not being able to look a physical piece. Sitting back with a mug a tea and cig, feet up and swelling up inside at what you have produced. On computer this never happens because its not real, as such, if you know what I mean. So the basis of this email, stick to painting, You're one of the best in the industry and to be honest if I ever reach your standard, I'd say goodbye to the machine. (Well for emailing and net research of course it serves its purpose) Regards Jim Brady (Warhammer Artist) (13/09/2002)

Hi Jim - thanks for that
I know what you mean about the purely physical aspect of a painting or sculpture. I can do most things with a reasonable degree of facility but it would take me a long time to do say, a perfect airbrush circle or any of the other effects that can be created at the touch of a button on the computer screen. Above all the work I do has to be done as quickly as it can; I've got nothing against using computers as an aid to that end, but at the end of the day (as Prince Nassim used to say) there's this whole atavistic thing that must date back to the stone age, when you have an object that's completed sitting there saying 'look at me, look at how pretty I am , but don't look at the foot too long as its pants'.

On the plus side (for me) drawing and painting aren't taught at schools so much anymore, even art schools, and it's skills me and the other aging cave men have spent ages developing are becoming less easy to find. (I was at art college back in the late 1970's and even then art teachers were proclaiming that photography had killed off the need for traditional painting and drawing skills. The other thing they told me was that comics were ugly and had no artistic merit. As a consequence I had to teach myself for the most part, the very things that I had gone there to learn.
I like the idea of mixing the media: doing a painting, scanning it in and adding to it in that way. My only problem with that is nowadays a third of my income is in sales of original artwork, so what you see in print is pretty much what you get...
Cheers, Glenn

I really really want to know....
Hi Glenn, I got into comics when I first read Slaine because of your art work, I stopped reading comics when you stopped doing Slaine. I think your style (in Slaine) is unique as you seemed to pay more attention to realism, detail which I think emphasises the humanity of the characters, instead of degrading them to the American superhero chisel jaw arnie look. My question is would you ever like to return to doing Slaine again? so I can start reading comics again... (Stephen Chan 18/08/02)

Hi Stephen thanks so much! I've always tried to have my characters act in their scenes, even if it's B-movie or silent film mugging to camera. They are reprinting all of my black and white artwork in the 44 page Authority book called 'Kev' written with Garth Ennis. It's pretty funny so you could look out for that. The styles a bit scratchier than in Slaine but it's a page a day. I'm also now doing a Daredevil book with Hollywood guy Kevin Smith and I've just finished the first one. The styles a bit smoother and I'm looking at a lot of Gil Kane stuff.

I would like to return to Slaine. I did a colour book called Demon Killer which came out a few years ago. I've always loved the character but at the moment 'it's all about the money boys' (quote from Oh Brother where art thou) Cheers Glenn

I really really want to know....I've also enjoyed your work since I first saw it in Slaine.However the first thing I thought at the time was "Here's another Bisley knockoff artist.." but since then you developed a most original style that I enjoy quite a bit. You must get that a lot?
P.S. When I first saw Bisley I thought he was a Frazetta wannabe, but than isn't everyone? (Rick 01/08/02)

Hi Rick. All I can say is that you must have missed my run on Slaine from 18984 to 1988 (currently available from Titan Books as 'Slaine the King'. Also according to Pat Mills they are going to reprint 'Tomb of Terror' and 'Time Killer' too. Simon took over Slaine from me. I left to do a fully painted Marvel book with Pat that eventually panned out. I have to admit that when I was back on Slaine in full cover I did pile the muscles on him a bit so he wouldn't look skinny compared to Simon's stuff. As for Frazetta: Absolutely! He's the closet thing to a patron saint in this industry (well maybe Jack Kirby too!)

I really want to know....how I can buy a piece of your artwork for my collection I have met you a few times at conventions and have chattered with you but in all the times I've got loads of comics autographed by you but never managed to get a sketch. I've got a lot of others like Liam Sharpe and an oil painting by Greg staples but what I really want is something of yours. I loved the Preacher covers and I have followed your work right from 2000Ad when you did Slaine I don't want you to think I'm a nutter [I'm 28 and a pub landlord and I have the best strongbox and scrumpy jack around hint hint ] so I ask you how do I get a piece of your work and what are the prices I would like to buy it from yourself and hopefully you would sign it for me yours hopefully (DARREN EVANS 12/07/02)

Hi Darren - thanks for the kind words. A landlord - you and me could become firm friends. Funnily enough m and Liam are working on a comic together (Global Frequency #3 by Warren Ellis), my pencils, his inks.

All my Preacher paintings, indeed all my paintings these days, are being sold to a collector. However, I'm doing a lot of black and white stuff these days and you can pick that up at

http://www.britcomicart.com/gallery/fabry?&page=1

My interiors to Kev - a two parter Authority story by Garth Ennis at Wildstorm will be available shortly. Also - why not contribute to my beer fund by purchasing a signed and numbered print - I'll do you a sketch copy if you'd kindly pay the extra. I'll write you a dedication or something on it too. See my work in progress on this website for more details.

Cheers, Glenn

Hi! I really really want to know....What is your plan of your nude centerfold? Where and when can I order it? Thanks! (Chan 11/05/2002)

Hello! That nude centrefold thing was a joke (also that bit about the strange white haired man) and you're the first person to mention it. I though it would be funny to put a ridiculous future achievement in a list of past ones and rejected ideas like 'June 27th 2005 Assassinated Ian Paisley's lovechild'. Anyway here's one from 1997, when I was young and lovely(-ish).

I really really want to know....how you draw. Do you "build" a person beginning with basic shapes like circles and cylinders (which many artists suggest) or do you use a more freehand method? Keep up the great work! (Matthew 18/05/2002)

AND

I really really want to know....When drawing people, many of the best artists (such as Andrew Loomis) suggest using basic shapes such as circles and cylinders to help 'build' the drawing before getting into great detail. And while some basic sketching before hand is necessary, I think some of the most beautiful technique and draftsmanship can come from freehand. One of my favorite comic book artists, Brent Anderson for instance, seems not to mind so much that every proportion of a character is exactly correct. I was curious, do you have a preference? How do you begin a drawing? (Geeks on Parade 22/05/2002)

Hi both - yes that's the policy I adopt, the way an animator creates his figures. When I was 12 I went round the studios of George Martin Animation, (the guy who did the Beatles Yellow Submarine film). I fancied being an animator back then, it was a toss up between that and comics. He showed me a couple of books by an old Disney artists called Preston Blair, which I've still got and look at regularly. They're still in print - lots of great stuff about 'lines of action' etc. There's also a great new book by Richard Williams which pursues similar themes in greater depth since it's it's 3 times as big. Draw your line of action, fit in the head, torso and hips, flesh it out, stuck clothes on it (or not), light it, then draw (or paint) in your finishes.

It's quite a structural approach, but it really helps in giving you a feeling of figures 'in the round'. - Cheers. Glenn

Hello Glenn, I really really want to know if you are considering doing anymore interior artwork, following your Authority special? For what it's
worth, I think you should. (Alex Sheers 11/04/02)

Yes I'm doing a lot of interior art - apart from pencils on Howard the Duck #3 and Birds of Prey #42 there's #3 of Global Frequency (by Warren Ellis) and a sequel to the Authority story (by Garth). Also a top secret project. More on that soon

HI there, my name is Martin Bennett and I am an art teacher from a highschool in Papakura New Zealand. The reason I am contacting you is because I feel a student in my yr 13 design class should use your style of painting.Because of this it would be helpful to know who your past artist models have been, it appears looking at your illustration of the 'Judge Dredd' cartoon entitled, 'Talkback' that you have painted your images in a similar style as the Pop artist Wayne Thiebaud. Is this the case or only a coincidence? I look forward to hearing from you with your reply. Kind regards, Martin (12/04/02)

Hi Martin - I'm afraid I have never heard of Wayne Thiebaud and actually the 'Talkback' thing is a complete mystery as well (unless it was that 2000AD story about the DJ about 10 years or so ago). I generally just try to make my painting a cross between a cartoons and a grainy photo. My favourite painters are Frank Frazetta, JC Leyendecker, Richard Corben, Norman Rockwell - that's not to say they're the best, that's have to be Caravaggio or Velasquez, Waterhouse or John Everett Millais, you know, the list is endless and unfortunately for me I'm not that stylistically similar to any of them.
The best advice I've ever heard about style is, just concentrate on building your drawing skills and the style will follow. If you try too hard to be Frazetta then you'll just end up being a second hand version of him. I don't have anything against influences though - just don't be too singular in your choices, and never copy (unless you're doing that gallery thing).

In the May issue of WIZARD's "BUZZBIN" column, they say u have pix and plot info on you AUTHORITY run on your website. Where can I find it though?? I've looked all over! Please don't leave me hanging..I'm like a junkie needing a fix!!! (Professor Ohm 28/03/02)

Hello Professor! I was looking for some of that stuff today and couldn't see it. But!! It's all done, two painted covers and 44 b & w pages, everyone's very happy with it, and it's due out in a month or two. So Buy! Buy! Buy! And make me rich beyond the wildest dreams of avarice ark ark ark.

(By the way there are a few pic's on the news page!)

Howdy Glenn, I recently bought the new Titan book "Slaine the King" which of course features your work on Slaine. I started reading 2000AD just as you started work on Slaine and was instantly hooked. I think the work you did then has stood the the test of time amazingly and sit easily with Mikes fantastic Sky Chariot stuff, altogether a brilliant collection. Now, I know you are back to working on interiors for a couple of things, is this going to become a regular thing? Your cover paintings are the dogs bollocks but are we going to get the chance to see you produce more line work? Can I just add the book "The Art of Comic Book Inking" to the list of top books to read. Dark Horse published it. It doesn't really have amazing great hints on inking but is more of a common sense book and has some wonderful examples of different artists inking the same sets of comic pages. Inking seems to get second rated on comic strips but can really make or break a strip, so equal amounts of practice on drawing and inking is always great advice. Keep up the great work on your site and keep up the regular updates. Cheers (Graeme Neil Reid 25/03/02)

Thanks for the kind words Graeme, and yes indeed I am going back to regular comic-strip interiors. First up is a 44 page (plus painted cover) Authority book: then pencils (and some inks) for Howard the Duck #3 and Birds of Prey - forgotten which issue number but that's out the same month. Gary Leach did the inking on most of the Howard the Duck book. Then there are a couple of exciting prospects which I'm not allowed to tell you about, but it's all interiors (and covers) from now on. Watch this space for details.

Do you have any useful tips that I could use and an artist myself? General things like what books would be useful to study or how to do research for pictures to get things to look accurate and realistic and tips on painting (kind of a Fabry art masterclass). Currently I am trying to learn anatomy to make my people more realistic - the people in your paintings look fantastic and seem to have all the right muscles and veins etc... Can you recommend any literature or tips I might find useful (not just on anatomy)? (Dale Rushforth 21/03/02)

Hi Dale - I make a HUGE point of trying to be as anatomically correct as I can be bearing in mind that 98% of the time the correct reference is not available unless you know, or are, a fantastic physical specimen of either sex. Boris Vallejo can take a photo of his mates down the gym and knock off a painting from that. I don't do the gym thing though I do try and keep fit because, mostly, you're your own model. I have hundreds of magazines and videos and books full of images of people. The problem with this is you still can't find exactly what you are looking for after hours of wasted time thumbing through the bloody things. The computer program 'Poser' is very useful but it's not perfect, it just looks like an Action Man or Barbie, and the bums all wrong. So - practice. I have a sketchbook filled with hundreds of little drawings of mostly women which I've drawn off the freeze frame on my video. Go to life drawing classes. I haven't been for years, but I should do as it is really helpful. If there is a problem body part that you cannot get right, take photo's of it, make a scrapbook of it in whatever positions and angles you can find ( I hope we're not talking about knobs here, more say necks etc.) The hardest body part for me to draw, is the back, especially on a contorted figure (which is what I most often have to tackle) so I've started making sculptures, which really improves your knowledge of anatomy in the round. Also, if it looks right it IS right.

Best books in my opinion are;
Figure drawing and anatomy for the artist by John Raynes (Chancellor Press)
Bridgeman's Complete Guide to drawing from Life (Wings Books)
How to Draw Comics the Marvel Way (Marvel)Don't bother with Byrne Hogarth
Most anatomy books (get all you can) can have tendency to blind you with science. Don't worry about it. Superficial anatomy is fine, you don't have to count all the knobs on the spine unless you have to.
As for hands - take a photo mate - they're impossible. You can use a mirror (I do for hands and faces) but if you use one for the hand you draw with you're buggered.
Actually, I could go on all day on this one. Oh yeah - the 'Pose File' series of Japanese how to books are useful. You can get them through Bud Plant. Let me know if you find any bodybuilding on DVD.......

How do you feel about the use of computers nowadays in drawing and painting? I read an interview with Brian Bolland who said he now pencils, inks and colours all on the computer. (David Williams 24/03/02)

Hi David - to be frank, I've nothing against it, and it'll probably be something I'll try and get into more as I get older and more infirm! You can do a perfect airbrush circle and stick it on the image - in real life (so to speak) you'd have to do that freehand (next to impossible) and the odds of cocking up your painting are extremely high.
The drawback is that I'm not that good on the computer yet - no time to practice - and there's also that original artwork thing of putting up a real artifact up on your wall.
I suppose I'm still a mud and sticks person at heart.

Where were you on the night of the 14th April 1992? (the night of the famous Brighton Murders)

I refuse to answer that without the presence of my solicitor.

What do you use?

I use CS10 Media 6 illustration board, acrylic paints, (some Liquitex ones too), coloured pencils, airbrush (sometimes), toothbrush and ball point pens. Most paintings are about 16'' by 10''.

How long does it take you to do a painting?

Anything from a day to 2 weeks, depending on how difficult it is: head shots - very easy. 22 rotting nazi zombies on motorcycles coming from a swamp - quite hard!

Where do you get your ideas from? (I'm asking myself here you understand)..

Well Glenn, .Most of this work is kind of generic, so you're working within a theme: But mostly I just dream them up.

If you would like to email me a question please Click Here