Disclosure – I’ve worked with Lucy on a small, contributor only zine in the past
ZL – When and why did you begin creating comics?
LS – I’ve been making them on & off for myself since I started reading them. In the early days that’d be in honour of strips in the papers & anthology comics like Deadline & 2000AD but I showed this to almost no-one. I started making them to be read in 2016. I’d been trying to get BARKING off the ground after my friend Nick Abadzis encouraged me to do it but it took having my daughter in 2014 & (frustratingly at the time) losing work opportunities, so I found I had time on my hands. That’s never good with a mind like mine but then suddenly realised I could be using it to finally make comics. It seems ridiculous now that it took so long to get round to it but I had to commit myself fully to the practice and start figuring out what I had to say.
ZL – Do you remember the first time?
LS – I was really taken in by an early love of female lead stories, comic shops were pretty unfriendly at the time so I took great comfort in reading ‘Tank Girl’ and ‘Halo Jones‘ but pretty much anything with artwork by Dave McKean was devoured over. A key read for me was ‘Signal To Noise’ (Gaiman/ McKean/ Ballamy) it’s a powerhouse team creating an extraordinary tale from inside one man’s thoughts as he comes to terms with his mortality. It changed everything I thought about comics & made me want to improve my skills drastically to create work that powerful.
ZL – Given an unlimited budget and all the time in the world, what would be the project you’d make to be remembered by?
LS – The deep seated wish for Barking would be a combined graphic novel & Animated Feature Film. It would be entirely hand drawn animation & shot on a rostrum camera with every music clearance I needed to get across the inspirations behind it. I would draft in some favourite creators in both comics and animation to help create it together or do it all myself because sadly I am that much of a control freak. That will probably be my epitaph.
ZL – You have a history in animation, do you feel that has an impact on the way you draw action?
LS – Yes, hugely. My brain is hard wired for motion. I can’t help it. I spend most of my time trying to work out which key pose would best describe the animation in my head. It’s incredibly satisfying when you get that moment right & horribly frustrating when you can’t. Key poses are at the root of 2D animation and working in the form taught me how a simple line can say so much. I’ve still got a lot to learn about the pacing and pagination of making comics. Although the volume of work to animate is intense the framing seems lazy in comparison. No matter what, you’re dealing with just a rectangle. It’s been a lot of fun playing with the page format, seeing how far I can push it but still make the story readable, at least I hope so.
ZL – What single creation would you settle down with and just chill?
LS – Arrgghh, this is almost cruel. I tend to flit around genres & formats. Often reading 2 or 3 at a time. I’d love to get through my reading pile which is in 4 (growing) sections: Small Press, Graphic Novels, Literary & Academic. But if I had to choose I’ve just started ‘Gideon Falls’ (Lemire/ Sorrentino/ Stewart) it’s a cracker of a tale & gorgeously rendered, the art & colour is reminiscent of ‘Button Man’, plus it’s a huge collection already so lots to read. Or if I’m feeling focused I’d attempt to get through the entire ‘Akira’ Manga Collection. Otomo is a massive influence on my work, I can never tire of his draftsmanship. Or if I’m in a perverse mood the full ‘Twin Peaks’ output. Yup, that’ll keep me well occupied!
all art copyright and trademark it’s respective owners.
content copyright iestyn pettigrew 2019