Category Archives: zines

Mini Comix Co-Op – Danny Ferbert interview

You can find Danny on facebook

ZL – Hi! And thanx for agreeing to this interview

We’ll get into the details about the Mini Comix Co-Op in a minute, but I thought it would be good to get a little background on you first of all, if that’s ok?

Where were you born, where were you raised and where are you based now?

DF – I was born in Nashua, NH. I grew up in Florida, primarily Margate and then in high school we moved to Port Saint Lucie. I currently live in Joplin, MO. I’ve been here since 2012 I think. Still weird to me to realize I’ve been here that long.

ZL – What is your history with zines and mini comix?

DF – I have drawn comics my whole life. It was the only thing I ever wanted to do. I drew a webcomic in high school with a childhood friend. I did most of the work. It was a total South Park rip-off we made up when we were in 4th grade. We did 2 10 episode seasons and then I got burnt out by the 3rd season.

My first comic I printed was right after finishing high school. My friend and I put together a convention in Port Saint Lucie and I did a fan comic, or doujin of a manga called Genshiken back in 06. Printed 100 copies and sold zero. Lost all the books in a move shortly after moving. I have 1 copy. It isn’t good.

I joined the web forums Whitechapel and Gingerbox after high school and those were basically my schools I used to improve as a cartoonist and was shown about printing my own mini-comix. I printed 3 zines before moving to Joplin and I released an additional 3 zines very quickly from there. After printing the zines I searched for places to get more exposure through zine shows like S.P.A.C.E. and FLUKE and I discovered the mini-comix co-op.

ZL – I can’t believe that you lost nearly all of the copies of your first ever zine!

I think the experience of making a zine and then having nowhere to sell it may well have been a very common experience back then, without social media to help. I know I certainly had that experience, I made two and never sold a single copy and had no idea how to get them out to readers. I used to take them with me to the second hand book stall I worked at and no-one ever paid them the slightest attention!

By the time I found out about other zines that I could advertise in or contribute to I’d lost my confidence and given up on the idea.

I never really followed chat groups. I was nowhere near the internet at that time, so you’re part of a generation that had this much more interactive involvement with other zinemakers from around the world. How much do you feel that interaction fostered you and kept you making, or is it a more complicated picture of zine shows, letter swaps and forum friendships? I wonder if there are any groups where people network about zines in the same way?

DF – Oh yea. With my first book I was in high school and I didn’t know anything. I picked up little bits from the manga magazine Shonen Jump but it wasn’t until after high school and I started exploring being a cartoonist more that I discovered different tools to use and the forums were big in that. It also allowed me to collaborate with different writers and contribute to different things.

The internet is a different place now. You don’t see forums as much, there is reddit and Facebook and Twitter that have kinda homogenized the internet so you don’t have to go to as many places. I was big on Live Journal starting in high school and before that I just made my own websites and talked in chat rooms. The information is easier to access now though. You can just watch a cartoonist tutorial on YouTube now to find out the tools of the trade.

ZL – Did you regularly attend events before you Covid came along? How does it feel not getting to have those shows to go to anymore?

DF – I actually hadn’t been to a show in maybe 5 years before covid. I had difficulty with my home life for a while. My partner needed more of my focus so the art was coming out slower as I focused on life. I never completely stopped but I would have long stretches of no activity.

I have lots of social anxiety and I’m not a very good salesman so I was never that big in to selling at shows, but I knew it was necessary. It fills me with dread thinking about sitting behind that table by myself. Normally I would sell enough to cover my expenses. I plan to do a bunch of shows again when this pandemic is over and I have finished the book I’m working on.

ZL – I’m also interested in the fact that you’re linking yourself into the doujin culture around manga as I was reading about Comiket and how huge that fanzine culture and show is in Japan! That’s a zine show with ¾ of a million attendees!! Can you imagine something like that happening? 

DF – I’m still trying to visit Japan. I almost went right before the pandemic but due to some flight shenanigans I ended up stuck in San Francisco. It’s been frustrating. I also wanted to sell at a show there and I’ve looked at the applications for Comiket before to see if it would line up with my visit. I try to keep up with my zine making friend over in Japan, Ian McM, to see what shows he’s going to.

ZL – Circling back to the Co-Op, could you tell us a bit about what inspires you to run it, whether that’s a person, an ethos or a visionary utopian dream. Basically, I’m wondering what do you hope it will achieve and what triggered you to organise this?

DF – When I discovered the Co-op it was kinda defunct. Doug McNamara was running it but life happens and he didn’t have time for it. I emailed him interested in contributing and he told me he wasn’t really doing it anymore so I asked if I could take it over because it seemed like too good an idea to let die. He sent me all the books he had and even transferred the domain to redirect to the WordPress page I made.

I emailed everyone I had a book for who I could find online to let them know I took the Co-op over. I met all kinds of artists that way, like Everette Green who was running the Little Rock zine nite that I became a regular to and even designed a poster for. Unfortunately the show hasn’t happened for some time.

I liked the idea of the co-op because I think it’s an important resource for someone who is starting out. You mentioned earlier about not knowing what to do with your zines when you were starting out. I think a lot of people starting out don’t know what to do with their work and are just trying to get some exposure and make some connections. I get a lot of new zine makers, especially during the pandemic. I wish I had more resources to offer. I need to update the website with some of the new creators and stuff and I don’t really advertise the group that much. These are just the kind of things I struggle with doing for my own work. I can only do so much by myself.

ZL – Getting into brass tacks for a moment I thought it might be useful to get some extra details around the Co-Op. I’ve read the details on your site Mini Comix Co-Op and they make it clear, but I just thought it might be interesting to know a few extra things.

You mention only having to pay the cost of mailing comix but I was wondering whether that meant just the cost to whomever is sending their zine or whether there needs to be a contribution towards the return costs as well?

DF – A contributor only has to pay the postage to send their books in. I cover the cost of sending books out. I only get a few contributors a year so it’s not a huge burden on me or anything. I think it’s an important resource for the mini-comix community so I don’t mind.

ZL – If people did want to chip in towards the costs, is there a way of them donating towards those costs, do you have an account or are you happy to receive stamps etc?

DF – I have a PayPal ferberton@gmail.com. No one has ever offered that though. I just occasionally get extra books from people just for me which I appreciate as a comic fan. I just got a nice care package from Adam Yeater recently and Charles Brubaker is always sending me stuff.

ZL – You request at least 5 copies be sent in, does it have to be 5 of the same comic or can it be a mix of different issues?

DF – A mix is fine. The 5 is simply so that there is plenty in stock for the next contributors.

ZL – You also mention it being best to send 10 but are you happy to receive more than that and if not, is there a reasonable gap you’d suggest before sending in another batch, I mean, could you send in 120 and then say, send me 10 each month?!

DF– I have gotten some really big lots. There are only so many different books so if you contribute 10 books 30 times that’s 30 different books. I don’t know how many different books I have right now but that is pretty close. So I appreciate it if the book lots are limited and infrequent. 10 books once a year is more than enough honestly. I used to have a spreadsheet to keep track of who got what books so they wouldn’t get doubles but that laptop was stolen and I didn’t bother trying to make another.

ZL – Are there any types of content that you’re not willing to handle within the Co-Op and, on a similar note, are you happy to manage the content sent out to contributors if they let you know they may be triggered or offended by certain content?

DF–  I don’t put any limits on the artists like that. I’ve gotten stick figures, I’ve gotten gross out humor or graphic illustrations. I’ve never had anyone say they didn’t want any types of books but I’d be willing to cater to someone’s wishes. I don’t mind.

ZL – Taking a deeper dive and possibly stepping into controversy here, what do you class as mini comix, as within your remit and outside the remit? I mean, I’ve done what I class as a comic and it’s A6 in size but I’m wondering whether an abstract photo comic would be considered for inclusion in the scheme?

DF – I think “mini” comix doesn’t really describe what I accept. I want to share any work from any artist that prints their own work. I’ve gotten magazine size books. I’ve gotten hand drawn books. I’ve gotten photozines. If an artist is willing to take the time to make it and wants their book sitting next to other “mini” comix then they have a spot. I’m not super into a lot of rules honestly.

ZL – You’ve mentioned being happy to send work around the world, so I was wondering whether you had links to some worldwide creators that have been involved in the Co-Op?

DF – I don’t remember which one’s come from where so I don’t really know any, I just so happened to get a new mini just recently though that I am mailing out for now from @pkortjohncomix in the UK. It’s a fun mini, a French Ultraman fighting a giant monster. I remember doing something similar as one of my first comics.

ZL – It would be great to see what kind of comix you’re stocking right now, if you’re able to share any.

DF – Here is what I’ll be sending to that UK contributor. I try to give a wide variety of different creators and styles. Some of these artists I have multiple books from, such as from Brian Pepicelli who did the Fault Line book.

ZL – We have two traditions on Zine Love, one of which is to always ask people to share their love and tell us about three creators whose work they are loving right now. Who would that be for you?

DF – I haven’t been buying any new books recently. I’ve just been reading what people send in for the co-op and stuff I find in the dollar bins. Adam Yeater has been sending me some cool and interesting mini-comix lately. I always love getting a package from Charles Brubaker and seeing what he’s doing with his animation. Everette Green released a pandemic book and it’s as funny and gross as you’d expect from him. I’d also like to say my buddy Cameron Callahan has released his second volume to his anthology Built From Human Parts. Cameron is one of the first people I started talking to online who was making mini-comix like myself and we’ve been struggling through it ever since. He’s going to be taking a hiatus from his art and I know I’ve had to do the same several times, life just gets in the way sometimes. Get a copy of his new book while you can, lots of people worked hard on it. 

ZL – The other tradition is to always ask about what you’re up to right now and what you have available, so feel free to tell us a bit more about your own work?

DF- Last year I created a mini-comix for Halloween and this year I printed it with a new back-up comix added for Halloween with a sticker pack I did with my girlfriend. I’ve got a comic that will eventually maybe come out through a friend’s zine. Not sure when that’ll be. I am currently working on a submission for Antarctic Press.

Most of my books are still available on my website where you can also read the Halloween comic I made along with most of my comix that are in print are available on my website for free. I don’t work in any particular genre, you’ll find auto-bio, sci-fi, fantasy, humor, action, love stories, something for everyone.

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content copyright iestyn pettigrew 2020

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Review – Requiescat In Pace by Livor Mortis Zine and Cameron Zavala

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This is a grim zine dealing with loneliness, abuse and self-hatred.  It’s handled with an extremely dark humour. It doesn’t make light reading, but it’s got a pure angry voice that’s laughing whilst making you sick. It’s a classic underground comic, gross out, and in your face, but busily dealing with life at the extreme margin of society.

The zine mixes comic pages from Cameron Zavala with photographs from Livor Mortis Zine. These photographs have been used as a springboard for the settings of the story and it’s fascinating to see the original and the drawn version in combination. Impressive how such a loose and quick looking style managed to still take these references and render them so recognisable. But more interesting is seeing how a few images can inspire the creation of a story. 

I’m a huge fan of Livor Mortis Zines photos and these are great, managing to capture corruption, decay and out of time artifacts of fashions left behind, with a grimy beauty. The star of this zine is Cameron Zavala’s comic story. Riffing on the images and the mood within them he takes it and runs, making a story that delves deep into cruelty, absurdity and boundary pushing extremity. It scores its points against alienation faced by those rejected from love in their lives. It digs at homophobia and the othering and criminalisation of those outcast from mainstream society.

In fair warning though, it does this with huge amounts of depraved and cruel dark humour. The kind of bitter humour that isn’t so much funny as a cry of anger. Yes, it’s out there pushing your buttons (and this could trigger abuse survivors for sure) but it wants to because it’s damn angry about the cruelty being called out.

The art and the story are ugly and in your face, are crude and bitter and scratched out and it’s horrible. But it’s got a bleak humour in its hysteria and it’s making its points against the cruelty of making people outcasts from love and hope.

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Contents copyright iestyn pettigrew, all rights reserved

Review – Adam Yeater – (I’m not going to tell you the name, because you should find it for yourself!)

Buy Adam’s comics here – big cartel store envy

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I love Adam Yeater’s art. For some of his work, like Blood Desert it’s simple and cartoony and unpolished and deliberately so. That bluntness, that getting it done and not worrying about the anatomy is what’s appealing. It’s the lines and storytelling that matters. 

But I love it the most when he takes that style and then just fills the space up with visual noise. He does this a bit with World of Knonx, but best of all are his big mushroom or plant paintings and images. They channel psychedelic art and that lovely scratchy line of black metal art.

This zine takes that visual noise and scratchy line and drags them through Where’s Wally to make a horror monster picture search. 

I personally hate doing Where’s Wally because I get bored with looking for things, but I love just drinking in those pages and letting details surface up. This zine is so much fun to stare at and see how inventive all the character designs are or to just let the noise drown you. 

A great little zine to pick up and drink in when you feel like it. 

I asked Adam why we are looking for little toads and he explained his reasons to me, which I thought were fascinating, so I thought I’d share what he said with you.

“It is a tribute to the Sonoran Desert Toad. Its habitat is in my local desert region here in Tucson, Arizona.

It is going extinct from people abusing them for the DMT in its poison glands. 

People dry and smoke the poison. I have seen them when it rains. I have never been on a toad trip but I heard it is very intense.

I did the comic as a tribute to these magical toads.”

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Contents copyright iestyn pettigrew, all rights reserved

Review – Cui Shirts

Find Cui Shirts on instagram

Cui Shirts is an online project and zine that documents t-shirt slogans gone wrong. It’s a fun project with a big task. It’s squarely aimed at making fun of bad design, poor translation and the sometimes genuinely weird slogans on the fast fashion of Asia, but at its heart it wants to show the hollowness of that consumerism and the lie that it lets you be an individual. 

Fast fashion squarely sets its stall in sass and an ‘up yours if you don’t like’ attitude, with the occasional foray into ‘positivity meme’ territory. At its heart it’s crass, trying to sell individuals the sense that mass production can make them truly an individual. 

So, whilst there’s a little sense of harshness to laughing at awkward translations into a foreign language, there’s the balance of mocking such a hollow cash grab and the lying mask it wears. 

Cui Shirts latest zine really pushes into that thought by adding additional commentary in the form of the life costs these slogans carry with them. You can see its aim clearly, it’s about trashing consumerism and it’s fake ‘I’ll set you free to be you’ lies and not so much about  poor grammar or translation. 

I also love the shiny, textured paper that the zine is printed on, it looks and feels lovely. 

There have been previous issues, including my personal favourite that came hung on its own coat hanger. 

Cui Shirts is a touch of class in the trashy fashion slogan market. 

P.S. even the envelope is great, look at those seals!!

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Contents copyright iestyn pettigrew, all rights reserved

Review – Purple Hate Balloon by Fraser Geesin & Laurie Rowan

Buy Fraser’s comics here – digital physical

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It’s hard to define Fraser Geesin’s humour, but it’s fun to give it a try. In all his work there’s a feel of the satire being spot on in an uncomfortable way. My favourite of his is The Cleaner where he’s doing humorous, gentle observational humour about his life. However, he’s excellent at handling farce, loves to throw in social satire and is often about pushing things to absurd extremes to make his point.  

Even when he does really push it, it still doesn’t have that sense of hysteria to it that absurd humour often does, for want of a better phrase it’s not zany or wacky, in fact, even with how odd it is, it doesn’t feel odd. The best way I can describe it is that it has a hyper real sense of absurdity. You know it would never happen, but it feels only one step away from being real. I think it’s the way he mixes farce with the absurdity that keeps it feeling grounded.

Purple Hate Balloon, co-written by animator and director Laurie Rowan, is working in that vein of believably absurd, too close to the bone humour that makes you laugh and bears thinking about afterwards. It adeptly makes its points, has a good plot whilst telling funny jokes.  It’s a fun read and it scores some good points.

It’s all helped with Fraser’s amazing art. A fine balance between realism and cartooning that just adds the feeling of being one step off reality. There’s a lovely rubbery realism to it that makes it good to look at and easy to understand.

This is a great little comic, like a Carry On for the angry online troll era.

I’d add in that there’s a nice one-pager from Laurie Rowan at the end. A lovely gross sight gag. Also, go and see his site as it has some very awesome animation to watch.

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Contents copyright iestyn pettigrew, all rights reserved

Review – Not This House by Gareth A Hopkins

Buy his comics here – digital physical

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Gareth Hopkins is really one of the main reasons I got back into comics reading and particularly became interested in the small press and zine culture.

His comics are not comics as you think of them, they’re not linear representations of actions and events. They are stories and his stories have become more linear and less like the broken poetry you’ll find in Intercorstal Extension. His art, though, remains mercurial and abstract, sometimes colourful and explosive, with pages broken up by panel shapes and sometimes, as with Not This House, like mists of lines and spots of black where suddenly something coalesces into almost the shape you’re reading about.

Not This House continues his moves towards prose storytelling and does so with great skill. There’s a sense of really manipulating what’s happening with the images, how they almost make scenes that illustrate the words on the page, in particular page seven evokes the sense of moving through tunnels in the dark, which feels deeply fitting for the story unfolding at that point of the comic.

There’s also the sudden tonal shift that hits home so very effectively with the change in lettering style and tone of illustrations. The shift, feeling sudden and, for me, emotionally affecting.

All in all, this work picks up threads from his earlier work, such as the use of poetic repetition of key phrases, but also adds a sense of intentionalism that is skilled and assured whilst also delivering some very powerful emotional tonal shifts within the story. That Gareth can manage this with the art, the story and the lettering is impressive in an inspiring way, that he can make this work as an emotional story, with emotional heft without any of the normal props of drama shows why I find his work so inspiring.

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Contents copyright iestyn pettigrew, all rights reserved

Review – The Blame by Jon Aye

A collection of short stories from Jon Aye.

Jon Is currently taking part in the digital Hackney Comic & Zine Fair.

Find him on twitter

I enjoyed this. A quick read that I think I could go back and spend some more time dealing with the bigger ideas it touches upon.

I often see these kinds of comic zines or this style labelled as experimental, but I’m not sure the label fits as well as alternative would. I feel there’s too much in the history of comics, I was immediately reminded of the cartooning on Dick Tracy as soon as I looked at this. The story approach is similarly easy to follow and parse, with its brevity seeming at points both dreamlike and histrionic, by which I mean there are strips where each line is designed to be dialogue delivering drama rather than naturalistic speech so it all seems like high drama pounding out the beats.

There are a couple of nice one pagers that amused me, such as the one below.

But there were a couple of strips that I found much more interesting, that got me actually thinking. They both deal with current society in its post-Thatcherite state, one obliquely and one more directly. Specifically ‘Disaster!’ and ‘Problem Solving’.

They’re both still short snippets, respectively four pages and one page, but together there is a personal thesis about post-Thatcherite UK society that I think bears expanding upon. It’s not so much that the thoughts are necessarily in depth in those stories but the combination of the two coming at the subject manages to make it so that we get a more rounded understanding of that thesis. It’s an interesting way to experience opinions without having to commit to reading a long heavy storyline exploring the subject.

I particularly like the approach to sci-fi in ‘Disaster’, it’s a very New Wave of Science Fiction attempt to look at matters, with a good use of ‘disaster’ as metaphor. I’d personally like to see that idea expanded as I think that world has some legs, but it doesn’t need expanding for the story to work as it is.

UKPLC also touches on current affairs in a nicely timed and confidently cartooned way. I like the visual approach and the somewhat abrupt approach to timing in the strips. Not all of the ideas work for me, either they’re a bit too pat  or didn’t have that much of a new idea (‘Writing’ and ‘New Name’), but the work itself is strong and individual whilst still feeling part of a contemporary comic scene.

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Contents copyright iestyn pettigrew, all rights reserved

Internet find – How to find your way

This is a cool zine to download and print out yourself – I love it when people do this.

It’s from Gregoire Huret

find him here – twitter instagram facebook

This is a cool looking zine as well. I like street photography and I think Paris may be my favourite city. These are good portraits and a great idea to mark their positions on a map included in the zine.

go here for the downloads

No photo description available.

the short list – Miguel Correia – Portuguese zinester

Miguel Correia

editor and publisher of Fanzine UltraViolenta

Find Miguel here

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UltraViolenta is  35€ per 5 issues bundle on sale here 

How long have you been publishing zines?

Fanzine Ultra Violenta is an artistic fanzine founded and edited in Portugal by art director Miguel Correia since the beginning of the astonishing year of 2020.

This visual and conceptual exploration project brings together several artists, most of them from Portugal, but also from around the globe.

To this moment the collective consists of 28 artists and we believe that by the time the 12th edition is issued they will amount to 50.

So far there are five issues available and numbers 6 and 7 are already in the editorial stage. 

What do they include?

Each edition has a unique theme and compiles the works of up to five artists from different artistic areas. Each artist will freely interpret the chosen theme. On each edition the artist is given a textured and coloured sheet as a means to entice the creative process as well as to create an editorial guideline. There are no additional briefings or any other conditioning to the artists’ process apart from the given sheet.

The final results have been rather expressive and varied with compositions ranging from the punk and grunge culture to the urban graffiti culture, and even extending to the Dadaist movement’s manifestos. 

Themes for each issue have been 

Issue n1 -Fevereiro 2020-Theme: Eat

Issue n2 -Março 2020-Theme: Dream

Issue n3 -Abril 2020-Theme: Pandemic

Issue n4 -Maio 2020-Theme: Mutant

Issue nº5 -Junho 2020-Theme: Poison

Designers include Miguel Correia, Joana de Matos, João Tiago Fernandes, Nélia Costa, Vasco Cardoso, Inês de Carvalho, Pedro Marques ( Piteko), Vera Barbosa, Nevio Buzov, Isabel Nunes, João Cláudio Larraz, Ana Calisto, Marcelo Ribeiro, Luisa Maria Benito, Joseph Simão, Lara Teang, Luis Miguel Delgado, Arianna Picoli, Álvaro (Alph) Ferreira, Kali Kali, Ogata Tetsuo, Raquel Barrocas, Nuno Freire, Anna Klos, Elias Marques, Lydia Swinney, Sérgio Correia and Jorge Tavares.

What inspiration made you start?

This project takes us back to a pre digital time, a time where information was scarce and transmitting it was best conveyed through these fanzines, thus, making them the preferred method of divulgation of a given ideology by artists, music bands, photographers, writers and illustrators. Fanzines are mostly self-published and they are created using simple production methods in which artists make use of a myriad of different techniques. From photography, drawings, collages and cutouts to the use of risographs and even taking advantage of the iconic Xerox printers’ very unique expressiveness. All these were used to create a new form of transmitting art, a form that people could share between them and through which they could assert and discuss opinions on a given matter.

What inspiration keeps you going?

Fanzine Ultra Violenta’s goal is to encourage this form of artistic expression and to enfold the participating artists in a creative process of sharing and experimenting.

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content copyright iestyn pettigrew 2020

the short list – Eduardo Cardoso – Portuguese zinester

Eduardo Cardoso

Publisher of Perseus and Atmosfera explosiva

Find Eduardo here

website facebook instagram   octodon   IUOMA

Thanx to Miguel Correira for organising and translating this interview a version of this interview in the original Portuguese can be found here

How long have you publishing zines?

I’ve been publishing zines for around 10 years.

 

What do they include?

They include collage, poetry, found poetry, etc.

 

What inspiration made you start?

Artist books. DIY and Mail Art publications.

What inspiration keeps you going?

The love for books and small publications. Mail Art.

 

Links:

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content copyright iestyn pettigrew 2020

the short list – Rodolfo Mariano – Portuguese zinester

Find Rodolfo Mariano here

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Thanx to Miguel Correira for organising and translating this interview a version of this interview in the original Portuguese can be found here

How long have you been publishing?

My first comic book/zine was self-published in 2012 while I was in art school, 12 pages of cheap drawing A4 paper, xerox printed.

My latest comic zine was printed and published last July, 36 pages, colour covers, professionally printed.

What does it include?

For a long while I’ve had my work featured in some zines made by other artists, small illustrations, covers, drawings and sketches… However my main activity, the heart and soul of my artistic work, was making comics using traditional media (pen, pencil, brush and india ink). 

What inspiration made you start?

At the time I was yearning for being able to design, print and publish my own comic books, my own titles and projects. Simultaneously I had another goal too, I really wanted to reach an audience because comics themselves tend to beg for having readers to whom books/zines/objects are small treasures. In Portugal there’s a tiny indie small press scene, which I’m still learning the ins and outs of, it was a very pleasant surprise back when I’ve started printing and selling my own books/zines getting to know such an awesome community. Since then I’ve been making friends and slowly growing my audience along the way.

What inspiration keeps you going?

I love the freedom to plan, create and publish my own comic books and be able to reach multiple audiences while growing as an artist and be part of a creative, open-minded, diverse community. Overall print as a medium with all it’s character and apparent limitless possibilities suits me and my creative process very well. There’s a long road ahead full of wonders, there’s no reason not to keep going.

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

the short list – Matilde Horta – Portuguese zinester

You can find Matilde here

online store          portfólio          instagram

Thanx to Miguel Correira for organising and translating this interview a version of this interview in the original Portuguese can be found here

Queens of Portugal

is the first fanzine I did with my 15 year old sister. We decided to make a project based on the things we’re both good at: Illustration and History. The idea of this project is to explore and show in small condensed booklets some topics from the History of Portugal that people know less about (or just things we love and want to share). Also to teach kids in a very short and illustrated way. The first edition was a success and we even did a second edition that is currently sold out. 

Who published it?

Me and my sister Maria did it all and published it ourselves

How long have you published it for?

We first published it in February 2020.

What does it include?

The book is a compilation of both illustration and text about history.

What inspiration made you start?

I wanted to draw queens’ portraits and my sister loves history so we combined both!

What inspiration keeps you going?

Our inspiration is mainly fun and knowledge. Still, we love the feeling of teaching our readers in an easy going way. Keep on researching about history and keep illustrating cultural artefacts and things we know that are important for our country, culture and for what we are.

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

the short list – João Oliveira and Guilherme Ferrugento – Portuguese zinesters

Find João here

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Thanx to Miguel Correira for organising and translating this interview a version of this interview in the original Portuguese can be found here

João Oliveira and Guilherme Ferrugento, authors of

Spooky Action At a Distance I

How long have you been publishing it?

The first edition of the zine was published in January 2020. It will be an annual publication with the next one to be published in the end of 2020 beginning of 2021.

What does it include?

Einstein’s ‘spooky action at a distance’ theory referred to ‘quantum entanglement’, which states that the measurement of one particle will instantly influence another particle, regardless of how far apart they are.

The idea of the publication was for each one of the artists to produce an image on alternate days as a way to inspire each other to draw more. Each image could take no more than 20 minutes.

The images would then travel back and forth between Brussels and Coimbra through the magic of instant messaging.

The drawings were then selected amongst nearly a hundred made between November 2018 and June 2019.

What inspiration made you start?

We used to push each other to draw during Uni and when we went our own ways this was how we managed to keep inspiring each other despite the physical distance.

What inspiration keeps you going?

The ability to stay connected through our art and to take a peak at each other’s way of seeing and representing the world. 

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content copyright iestyn pettigrew 2020

the short list – Portuguese zinesters

On our zinelove chat facebook group Miguel Correia has been regularly posting links to his zine UltraViolenta. On the back of what he was doing I tracked down a group for Portuguese zinesters and asked to join. Miguel politely said it was there to help build a scene with Portugal and, being the nosy sod I am, I got to chatting with him about what it was like there at which point he kindly offered to float out a set of questions to his group and see what came back.

I asked a rough set of questions –

Who publishes their work?

How long have they published it for?

What do they include?

What inspiration made them start?

What inspiration keeps them going?

It turned out to be pure gold. We’ve got five great zinester interviews lined up for the week, all of which feature work that I would dearly love to own myself.

Hope you enjoy them all, AND if you are a Portuguese speaker you can visit these interviews over on Miguel’s site in it’s native tongue.

I’d like to give a thank you to everyone that has contributed to this and an even bigger thanx to Miguel for organising and translating these interviews. I hope you enjoy this work as much as I did and that you go an seek these peeps and their work out.

iestyn

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content copyright iestyn pettigrew 2020

Small (press) oaks – Law Tissot

Cidade Cyber

There’s something beautifully Victorian Gothic about the penmanship of Law Tissot. His designs are perfectly simple and easy to read, just great cartoon designs, but the page is filled with marks and texture and grandly surreal landscapes. I can see the influence of Druillet and Giger in his work, but I’m much more deeply reminded of Jim Cawthorn’s approach to texture and line and the scratchy art of Bryan Talbot in Luther Arkwright or Nemesis and Matt Howarth’s whole approach, but the design just has a greater sense of PUNK about it.

Find Law here

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Can you tell us a bit about the first creator whose work you recognised?

I started reading comics very early. But I’m sure Jack Kirby made the first revolution in my life. The characters, spaceships, aliens, armor, weapons … all dynamic scenes. This is always very beautiful and exciting.

Jack Kirby inked by MIke Royer

(Comecei a ler histórias em quadrinhos muito cedo. Mas tenho certeza de que Jack Kirby fez a primeira revolução em minha vida. Os personagens, espaçonaves, aliens, armaduras, armas … todas as cenas dinâmicas. Isso é sempre muito bonito e emocionante.)

Which creators do you remember first copying?

Definitely Jack Kirby since always. But I need to talk a lot about the guys from Métal Hurlant magazine: Richard Corben, Enki Bilal, Moebius  and Philippe Druillet. Much more Druillet, I believe.

(Definitivamente Jack Kirby desde sempre. Mas preciso falar muito sobre os caras da revista Métal Hurlant: Richard Corben, Enki Bilal, Moebius e Philippe Druillet. Muito mais Druillet, creio.)

Who was the creator that you first thought ‘I’m going to be as good as you!’?

I really like underground comics, the freedom of fanzines and independent publishing. I have always tried to be an important author in the alternative scene. That interests me today.

(Eu realmente gosto de quadrinhos underground, a liberdade dos fanzines e da publicação independente. Sempre tentei ser um autor importante na cena alternativa. Isso me interessa ainda hoje.)

Which creator or creators do you currently find most inspiring?

As I said, Jack Kirby and Philippe Druillet have a lot of influence on my imagination. But today there is a lot of H.R.Giger in my art.

H.R.Giger

(Como eu disse, Jack Kirby e Philippe Druillet tem muito influência na minha imaginação. Mas hoje há muito do H.R.Giger na minha arte.)

Which creators do you most often think about?

I like to discover new fanzines. Distant artists with new ideas and new comics. These things happen all the time, talents that vibrate hidden. Treasures ready to be discovered. I want to see this happen.

(Gosto de descobrir novos fanzines. Artistas distantes com novas ideias e novos quadrinhos. Estas coisas acontecem o tempo todo, talentos que vibram escondidos. Tesouros prontos para serem descobertos. Eu quero ver isso acontecer.)

Can you name the first three creative peers that come into your head and tell a little bit about why?

Fábio Vermelho. For being a new friend I made recently. There is always so much to see in your art. All an urban atmosphere and psychobilly that attracts me. (Instagram @fabiovermelho)

Fabio Vermelho

Guilherme Santos (Moleton Fantasma) has a genius narrative ability. He takes his characters to places I would like to go.(Instagram @moletonfantasma)

Guilherme Santos

Henry Jaepelt has been an old friend since the 1980s. He still does many things that interest me. And its graphic universe is very powerful. It is impossible to remain indifferent. (Instagram @henryjaepelt)

Henry Jaepelt

(Fábio Vermelho. Por ser um novo amigo que fiz há pouco tempo. Há sempre tanto o que ver em sua arte. Toda uma atmosfera urbana e psychobilly que me atrai. 

Guilherme Santos (Moleton Fantasma) tem uma capacidade narrativa genial. Ele leva seus personagens por lugares que eu gostaria de ir.

Henry Jaepelt é um velho amigo desde os anos 1980. Ele ainda faz muitas coisas que me interessam. E seu universo gráfico é muito poderoso. Impossível ficar indiferente.)

Finally, can you tell us a bit about your recent work and yourself?

Cidade Cyber

I live in the extreme south of Brazil. I’ve been doing my comics and zines for over three decades, basically within cyberpunk sci-fi. I draw my comics every day and leave them where I can.

(Eu vivo no extremo sul do Brasil. Tenho feito meus quadrinhos e zines por mais de três décadas, basicamente dentro da ficção científica cyberpunk. Eu desenho meus quadrinhos todos os dias e os deixo onde posso.)

Thank you very much for taking the time to fill this out and let us into your mind.

Cidade Cyber – A Limusine Surrealista de Miss K

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Small (press) oaks – Alberto Monteiro

Today is Brazilian Independence Day and I thought we’d celebrate that this week by talking to a number of Brazilian creators about their influences and inspirations. Now, I have very little knowledge of the Brazilian zine and small press zine, but I’ve certainly picked up a lot of interesting creators to follow over the last few weeks.

Alberto Monteiro has an incredible style, beautiful and stylish, an amazing sense of colour and great design sense, everything has a chunky sense of physicality to it that really caught my eye.

Find Alberto here

Instagram           flikr

Can you tell us a bit about the first creator whose work you recognised?

I have always been interested in visual works, colors, shapes, and since I am already 55, in my childhood everything was printed, everything was paper, newspapers, magazines, etc. I think that from a very young age, a creator who always impressed me, among many, was Guido Crepax. With that thought-provoking streak and futuristic atmosphere, or not, full of the elaborate charm of the 70s psychedelic.

Guido Crepax

Which creators do you remember first copying?

As I said before, Guido Crepax’s work was very exciting for me, but I don’t remember trying to copy it. I would try, if I had enough skill, to copy several others, like Hal Foster, Alex Raymond, Milton Caniff, Will Eisner, Rich Corben, Jack Kirby …

Who was the creator that you first thought ‘I’m going to be as good as you!’?

I liked comic books as well as great painting, and I thought I could become a Picasso, because I also admired him a lot, lol … And I was already making my oil paintings, around 1981, or even earlier, I don’t have enough strong memory to go further than that, lol …

Picasso

Which creator or creators do you currently find most inspiring?

Currently I see Mattotti as a great artist in drawing and painting, I like neo-expressionists like Baselitz, Immendorff, Penck (RIP) and several other painter artists who created great canvases mainly in the 80s.

Which creators do you most often think about?

I don’t think much about the work of others, I have seen and discovered several artists through the internet, mainly instagram. I like informalism, creative freedom and jobs that always surprise.

Can you name the first three creative peers that come into your head and tell a little bit about why?

Casaes, is an artist I know and lives nearby, he does a very exciting job, has a touch of mystery and the line keeps that dark atmosphere even talking about everyday things.

Rafael Sica (here, here and here), as well as the first one I mentioned, also makes comics and besides the apparently simple line, his characters use a very interesting and unusual body expression in the comics.

Ordinário, 2010 – Rafael Sica

Finally, I know another artist that I cannot fail to mention, Fábio Zimbres, who is exceptionally expressive and surprising, has a totally free streak and I think it is up to great modern and contemporary painters.

Fabio Zimbres

Finally, can you tell us a bit about your recent work and yourself?

I am working daily with drawing and painting, I try not to create a border between drawing and painting techniques, I always use brushes and acrylic paint, on any type of support, but I prefer paper. I use work as a pure form of expression and keep a lot of what I saw and see from comic books, taking this narrative mixed with my own idiosyncrasies to my work.

Thank you very much for taking the time to fill this out and let us into your mind.

L u s t

Small (press) oaks – Ken Eppstein

Ken Eppstein is a good man to know in comics. He works hard to be fair to all of the creators he’s published. I like his tastes as well, so I think you’ll find very good work, including his own, in the comics he’s published.

I like that he’s interested in quantifying rather than guessing what people need, researching and getting data in to inform his work. It’s an approach I admire. His recent surveys have been supported by Fieldmouse Press’s SOLRAD site.

 

Ken Eppstein

Find Ken here

website          twitter          instagram          facebook

 

 

Can you tell us a bit about the first creator whose work you recognised?

You know, I think it was Curt Swan. One of the first books I ever owned was the hardback “Superman from the 30s to the 70s” collection. Still have it… Two copies actually! A nice one and my original copy with no dustjacket and a shredded spine. Lots of artists in there, but Curt Swan was the guy whose work was still in comic racks.

 

Which creators do you remember first copying?

I started answering this question by saying that it was probably one of the X-Men or Legion of Superheroes guys, but the more I thought about it, I’m pretty sure it was actually Jim Davis. I remember copying Garfield for a handmade birthday or Mother’s Day card or something. I can’t remember any specific copying before that.

Garfield
Garfield

 

Who was the creator that you first thought ‘I’m going to be as good as you!’?

I honestly don’t know that I’ve ever had this thought. At least not phrased that way about a specific artist. I will say that as I worked with artists, writing scripts and seeing their interpretations of my work, I gained confidence in my own ability to do it on my own.

I did for many years think about artists I could never be as good as. Technically adept artists, mostly. I guess I still think that framed as a matter of technical skill, there are many artists that have a more sophisticated skill set than I ever will.  Most who have dedicated themselves to that aspect of the craft, in fact. I don’t, though, conflate that craftsmanship with “good” or “bad” anymore. As a teenager, I realized that some of my favorite musicians are technically limited but are still able to create works of emotional and cultural depth. I now think the same thing is true of comic arts, but for some reason it took me longer to get there.

 

Which creator or creators do you currently find most inspiring?

Lynda Barry.  I took her five day “Writing the Unthinkable Workshop” last summer and all of my friends are tired of me talking about it. I went into that workshop a fan and came out an acolyte. She totally changed the way I create and the way I talk to other people about creating.

Lynda Barry

Which creators do you most often think about?

Other creator you mean, right? Because I’m pretty self-centered.

I don’t think I know. I care about a lot of creators.

Can you name the first three creative peers that come into your head and tell a little bit about why?
Bob Corby (of Back Porch Comics and SPACE): Maybe not so much my peer as my hero in terms of small press life. No one works harder for his community.

Bob Corby
Bob Corby

Timmy Wade, my coffee shop buddy who just recently hung together his first self-published comic after years of fretting about it. (Saphead comics.  Its not just good, its great!)

Saphead comics - Timmy Wade
Saphead comics – Timmy Wade

 

Pat Redding Scanlon who is my favorite current collaborator in a lot of ways. So talented and one of the few artists who live at the same intersection of punk rock and comic fandom as I do.

Pat Redding Scanlon

 

Outside of comics I’d say The New Bomb Turks, the first group of rock ‘n roll weirdos to take me in when I moved to Columbus. Also, almost entirely responsible for my garage punk record obsession.

Steve Anderson, my friend who has run a pirate radio station, written an excellent short story collection titled “1976,” guitarist and singer of the band I’m With Stupid, and filmed truly independent movies budgeted solely on beer and wit.

Bob Calhoun author of “Beer, Blood and Cornmeal”, “Shattering Conventions” and an upcoming collection of San Francisco true crime stories.

 

Bob Calhoun
Bob Calhoun

Finally, can you tell us a bit about your recent work and yourself?

My most recent project, including works in progress are:

What Have I Done For You Lately #1: A zine with my current WIP and sketchbook selections.

How to Collect Comics The Nix Way #1: A zine about the creative side of comic collecting, featuring illustrations and short fictions inspired by comics purchased at a comic-con.

Currently working on an illustrated novel titled “On Tour With Roy Lee Hood” and a graphic memoir about opening my first comic shop “What The Hell Is A Rudy Goose?”

WIP - Ray's Short Childhood
WIP – Ray’s Short Childhood

I’m a writer, cartoonists, and publisher from Columbus, Ohio.  In addition to my own rock music and record store themed imprint Nix Comics, I’ve been a contributor to the Columbus Alive, Red Stylo Media Comics, Rocker Magazine, Roctober Magazine, WFMU Rock and Soul Ichiban, and the satirical comic website, The Outhouse.

Thank you very much for taking the time to fill this out and let us into your mind.

Surfers' Love Call

 

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content copyright iestyn pettigrew 2020

 

 

Small (press) oaks – Morgan Gleave

I first saw Morgan Gleave’s work on the 1977-2000AD group for a strip in The ’77 magazine that they publish. I immediately loved the character design and graffiti-styled cartooning. I was struck with a memory of Samurai Jam by Andi Watson, not so much in style or layout, but in the life of the line and world design.

I’ve found Morgan to be a very positive person, both in his posts and in the interactions I’ve had with him. I know it shouldn’t matter, but there’s something of that positive and fun attitude that glows out of his work. It’s fun, daft but also deftly giving to the audience.

Morgan Gleave photo

You can find Morgan here

website          ko-fi          twitter          facebook

 

Here’s Morgan

Can you tell us a bit about the first creator whose work you recognised?

Hmmmm… Probably Maurice Sendak, creator of Where the Wild Things Are. That book and In the Night Kitchen were my favourites when I was little. I still have my original copy of In the Night Kitchen, complete with crayon scribbles!

 

Which creators do you remember first copying?

Kevin O’Neill and Carlos Ezquerra. 2000ad was the first comic I bought every week. I did some huge copies of Ezquerra’s take on The Stainless Steel Rat and Angelina, which my stepdad mounted and framed for me. They’re in my old portfolios in the attic…

Stainless Steel Rat drawn by Carlos Ezquerra
Stainless Steel Rat drawn by Carlos Ezquerra

 

Who was the creator that you first thought ‘I’m going to be as good as you!’?

Probably O’Neill. I copied a lot of his Nemesis artwork, and he definitely influenced me for a long time.

Nemesis the Warlock art Kevin O’Neill written by Pat Mills
Nemesis the Warlock art Kevin O’Neill written by Pat Mills

Which creator or creators do you currently find most inspiring?

Mike Mignola is my biggest influence, as a writer and an artist. Although my style has definitely become my own, he is without doubt my favourite storyteller. Mal Earl is amazing too, we’ve struck up an incredible friendship over working on The ’77. I love his style and use of colours.

The Prodigal - Mal Earl
The Prodigal – Mal Earl

Which creators do you most often think about?

Mignola! There’s probably tons more, but I keep going back to him!

Hellboy - Mike Mignola

Can you name the first three creative peers that come into your head and tell a little bit about why?

Pete Fowler

My stepdad… he saw I had talent and encouraged me to draw and be creative. I followed in his footsteps and became a graphic designer. Pete Fowler… another HUGE influence and inspiration, I love the worlds and characters he creates. Great music too! Ed Doyle… we met over The ’77, have become good friends, and I’m working on some great stuff with him. He’s so positive and encouraging. Lovely chap.

Kazana art by Ed Doyle
Kazana art by Ed Doyle

Finally, can you tell us a bit about your recent work and yourself?

This year has been crazy… In the first week of January, I was asked to send art to LA for a skate video premiere, Tic Tac Skate School reached out and asked me to recreate their logo (I’ve done TONS for them since, and am an ambassador for the school), and was contacted by The ’77, which was a dream come true… PUBLISHED COMICS! I’m now working on LOTS of strips for them.

portrait
portrait

Having grown up on comics and skateboarding, this year has seen so many of my dreams come true. I’ve had comics published, designed stickers and clothing for Tic Tac, and my first skateboard deck will be out soon. I’ve also been interviewed for an amazing podcast, The Mouth of Manliness, who I’ve supported since they started last year… it’s about masculinity and mental health, with a huge dose of creativity thrown in.

I had a huge breakdown last year, and nearly gave up on comics completely. But I started skateboarding again, and slowly started writing and drawing again. I’ve done more comics this year than ever before. And I’ve won online skate competitions! I’m in quite a good place now… I can genuinely say I’m happy for the first time in years.

Cat
Happy Cat – work in progress

Thank you very much for taking the time to fill this out and let us into your mind.

Thank you!

Morgan Gleave image 3
Morgan Gleave

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content copyright iestyn pettigrew 2020

 

 

Small (press) oaks – Daniel Bristow-Bailey

AC3_p04
Anxious Comics – issue 3 page 4

I first saw Daniel Bristow-Bailey’s work when he offered up free copies of his prose zine Dog. I ordered it on the strength of the cover, Dog handwritten above a very detailed drawing of a frog. It made me laugh, there was something oddly significant in that juxtaposition, couldn’t tell you why, but there was.
Shortly after that he started his Anxious Comics series, which is a fast paced, underground influenced mash series that has a lot of nonsense and yet some very powerful moments. It’s daft, but also on point and so, exactly what I enjoy.

He’s an eclectic creator and has a set of skills that make his work pop.

 

You can find him here

shop

Use the discount code ZINELOVE10 for a 10% discount on anything you buy. Valid until the end of 2020.

instagram                      twitter                      facebook

 

Screaming_p02
Screaming page 2

Can you tell us a bit about the first creator whose work you recognised?

It would have been someone from 2000AD. I remember being very excited by Kevin O’Neill’s run on Nemesis and Simon Bisley’s painted artwork for Sláine. If I look at Bisley’s stuff now I find it hard to get past the grotesque anatomy, but as with people like Todd MacFarlane in the US he pushed past his technical limitations with a raw energy that appealed to adolescent boys. I don’t mean that as snootily as it sounds! Adolescent boys can be fierce critics.

 

Which creators do you remember first copying?

My mum, who should get most of the credit for teaching me to draw, always strongly discouraged me from copying directly, but I came pretty close to it with Moebius! He always makes it look so (deceptively) easy that it’s hard not to have a go oneself.

moebius_edena
Moebius – Edena

Who was the creator that you first thought ‘I’m going to be as good as you!’?

That’s an interesting question. Probably Gilbert Shelton. I started reading the Freak Brothers when I was far too young (got to thank my mum again for that) and that “underground” style with lots of fine linework and cross-hatching seemed to be achievable with the materials I had at home. I think the Shelton influence still shows in my black-and-white stuff.

Shelton_freakbros
Gilbert Shelton – Fabulous Furry Freak Brothers

Which creator or creators do you currently find most inspiring?

In terms of comics, I’ve recently discovered Al Columbia. I can’t remember the last time I found an artist who really disturbed me like his stuff does. Even the more restrained stuff has an evil, haunted quality. The book I’ve got (Pim and Francie, Fantagraphics, 2009) feels like a cursed object, like the Necronomicon in Lovecraft’s stories, or the video cassette in the Ring. It’s a great example of text, illustration and book design all working together.

I’ve been reading a lot of Nabokov. He’s one of those writers I keep coming back to. Sometimes I like to think about how you could do a graphic novel of “Pale Fire”. The first half of the book is a very long poem, written by one fictitious character, and the second half is a collection of footnotes to the poem, written by a second fictitious character, who has stolen the manuscript and is preparing an unauthorised edition of the poem. As the notes digress further and further from the text of the poem, another narrative emerges, that may or may not be “true”, so it would probably be impossible to do a graphic novel adaptation, but thinking about how one might do impossible things is often creatively rewarding.

 

Which creators do you most often think about?

Lynch_TwinPeaks
David Lynch – Twin Peaks

Aside from the people I’ve mentioned already, I think a lot about David Lynch. I’ve always liked his stuff but Twin Peaks: The Return (2017) absolutely blew me away. There were points I was watching that when I thought “I didn’t know you could do that with television”. I think whenever a work expands your ideas about what’s possible within a particular medium you know you’re in the presence of real Art with a capital A. I love the sense of mystery in Lynch’s stuff, which I think comes from his letting the subconscious take the lead in the creative process – he talks a lot about using ideas or imagery from dreams, or meditation. It’s a process I’ve consciously been emulating with “Anxious Comics”.

Can you name the first three creative peers that come into your head and tell a little bit about why?

Gareth Hopkins - NO NEW IDEAS

 

 

 

Gareth Hopkins, because I’ve just finished doing a page for his “no new ideas” project. It was great fun getting to paint over a copy of one of his pages. Gareth posts a lot of his process online and I’ve found it inspiring how he reworks and recycles stuff. His work has definitely encouraged me to veer more towards abstraction, and not to be afraid, in comics, of decoupling the text from the image – I think he was a big influence on my one-shot “the Screaming”.

Gareth Brookes. I’ve not talked to Gareth much about process but he seems drawn to ridiculously labour-intensive media, like embroidery or linocuts. As if making comics wasn’t hard enough already! But as I said before, there’s nothing like setting yourself an impossible challenge to get the creative juices flowing. Also, when I look at the spread of stuff he’s got for sale at conventions – a mix of self-published zines and two or three big hardback books published more traditionally, I think it’s where I’d like to be myself in a few years’ time, so I guess he’s kind of a role model for me right now.

 

Hannah Lee Miller
Hannah Lee Miller

Hannah Lee Miller is producing some lovely stuff. I picked up a copy of her zine about condiments at Catford Zine Fair and it’s one of those things that initially seems rather slight and inconsequential but is actually really, really good, it just doesn’t shout about it. Also, Hannah is, in my limited experience, infallibly enthusiastic about other comic / zine people and always ready to help out or lend support where it’s needed. An asset to the scene.

 

Finally, can you tell us a bit about your recent work and yourself?

For a long time I tried to be self-disciplined and only work on one thing at once, but recently I’ve come to accept that I’m happier when I have several projects, preferably in different media, on the go at once.

The last thing I self-published was “The Screaming”, an experimental one-shot comic about dreams and mental health. I wrote about it in some detail for Broken Frontier.

Screaming_p08
Screaming page 8

I’ve got five pages in the upcoming anthology by Obsolete Comics. I’m really excited about this one as it looks like it’s going to be great, and hopefully represents the start of another small comics press. We can never have enough small comics presses.

I’ve also got Anxious Comics, my ongoing series – four issues out to date and the fifth long overdue! My long-term plan with that, if you can call it that, is to keep it going between other projects for as long as it needs to, or until I get bored. At some point it would be nice to do a collected edition.

I’m currently drawing a comic written by Steve Thompson, which he’ll be pitching to publishers soon I think. I like drawing other people’s scripts because it forces me to draw stuff I otherwise wouldn’t think of.

Looking to the longer term, I’m working on a script for a longer-form comic. It’s kind of a superhero thing. But not quite. I’ve got this character who’s kind of my own take on the super-violent costumed vigilantes like the Punisher and Deadpool that were popular when I was a kid, but transplanted to the “real world” of early-noughties London.  It’s pretty bleak. I think it’s funny myself but as with some other stuff I’ve self-published in the past it will probably cause people to express concern for my mental health.

Gareth Huntbegins
Gareth – Hunt Begins – work in progess

Bio: Daniel Bristow-Bailey was born in London in 1978. Growing up during the “dark age” of mainstream comics, he quickly became attracted to the alternative / indie scene and, encouraged by his mum and the bloke in the local comic shop, started drawing his own from an early age. Like many others, he drifted away from comics in his late teens, put off by their uncool image and lack of seriousness compared to grown-up art and literature, but came back to them in recent years as he realised that no-one was going to think he was cool or take him seriously anyway. As well as making his own comics, he draws other people’s scripts and sometimes writes prose fiction. He has a day job working as a mental health person in schools. He lives in Richmond with his wife and two children.

Thank you very much for taking the time to fill this out and let us into your mind.

Gerald
Gerald – work in progress

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content copyright iestyn pettigrew 2020

 

 

Phil Elliott – other things I found along the way

Michel Fiffe

appreciation – http://michelfiffe.com/?p=1851

Interview – https://www.factualopinion.com/the_factual_opinion/2011/10/second-city-the-paul-duncan-phil-elliot-interview.html

First Comic Newshttps://www.firstcomicsnews.com/phil-elliot-interviewed/

Tom Murphy at Broken Frontier reviews In His Cups –http://www.brokenfrontier.com/in-his-cups-collected-tales-from-gimbley-review-phil-elliott-fast-fiction-comics/

Eddie Campbell

http://eddiecampbell.blogspot.com/2008/10/fter-writing-about-british-small-press.html

Eddie Campbell writes about the 80s small press (of which Phil was such an influential part) available on SEQUENTIAL and Kindle:

Dapper John: In the Days of the Ace Rock ‘n’ Roll Club

Kindle (all devices)
SEQUENTIAL (iPad only)
Ed Pinsent
Lambiek.net
Paul Gravett

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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content copyright iestyn pettigrew 2020

Phil Elliott – guest contributors – art page

Below are some interpretations of Phil’s style or characters, just for fun

Gimbley image is by Graham Cousins and was included in the Infinity #2 which came out in early 1984
Gimbley image by Graham Cousins and was included in the Infinity #2 which came out in early 1984

Deadface - Ilya - with added Phil Elliott pastiche
Deadface – Ilya – with added Phil Elliott pastiche

Gimbley - Robert Wells fan art
Gimbley – Robert Wells fan art

Gimbley - Mark Russell Olson fanart
Gimbley – Mark Russell Olson fanart

 

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – A gallery

Part of the reason this has taken so long is the search for images or, more fairly, my reaction to looking at Phil’s work curated on the internet. Not only is there a lot, but it’s all damn good and i could lose myself in it completely.

Below is a gallery of every image I sourced for these articles, just so you can see them all in one place and realise the breadth of ability at work.

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – round-up

Martin Hand
Martin Hand

Martin Hand – comic writer and artist

The Suttons
The Suttons

Phil’s sheer craft and drawing ability – his ability to keep going is to be admired. The Suttons is my favourite work by him and I hope he’ll do a complete collection one day soon.

He’s like the British Herge – he’s got a very distinctive style – which will fondly remembered – unlike many of his 80s small press peers he’s still doing new material with new people and still evolving.

I don’t know Phil in real life beyond Facebook but I was very pleased to buy some Suttons pages off him – and I’m always pleased when he likes my work on f/b… 🙂

 

 

Ed ‘Ilya’ Hillyer – comic writer and artist

I was pondering repro of a panel from Deadface (with Eddie Campbell) where I pastiched his style for a flashback sequence of a panel or two… filling the bosses’ quiver!

Deadface - Ilya - with added Phil Elliott pastiche
Deadface – Ilya – with added Phil Elliott pastiche

 

Simon Russell
Simon Russell

Simon Russell – comic writer, artist and editor

The tone of Phil’s writing, both visual and textual, is entirely unique to him. No matter what style he adopts, it’s this that makes it stand out immediately as a Phil Elliott comic.

 

John Freeman
John Freeman

John Freeman – comic writer and editor

I feel like I’ve read Phil’s work my entire adult life, since the first time I discovered it on the Fast Fiction stand at the Westminster Comic Marts. An extraordinary and I would say influential talent on the UK independent scene, constantly surprising and innovative, the quintessential “tryer” who deservedly made it to the mainstream and whose work continues to delight. Yet, despite knowing Phil’s work, he isn’t a creator I know socially, so I have no scandal to relate!

I’m just hoping for more of his work and that more people support it.

Gimbley
Gimbley

 

Morgan Gleave

Morgan Gleave

I feel like I’ve been aware of Phil’s work for as long as I’ve been reading comics… certainly since I started collecting seriously in the 80s. Phil is a legendary creator who deserves serious recognition for his place in comics history, in the U.K. if nowhere else!

I love the inherent simplicity of Phil’s work… it’s a beautiful style, that has remained consistent for a long time. I imagine Phil goes through a lot of plotting and planning to get this timeless feel.I was very honoured to have one of my drawings reinterpreted recently by Phil for issue 1 of The 77.

I feel like I’m just getting to know Phil personally, having connected over our work on The 77. He’s been lovely about my work and very supportive. 

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Laurence Campbell

Laurence Campbell
Laurence Campbell

Laurence Campbell – comic artist

Hello Phil, you won’t have a clue who I am but I just wanted to say I have fond memories of your work.

The cover to Escape magazine #3. Art by Chris Long
The cover to Escape magazine #3. Art by Chris Long

There was a time I had felt I had grown out out comics like X-Men and was looking for something more, something with a bit more depth and something I could relate to. At the time comics were changing, there was a buzz in the air. I was still far away from being a comic artist at that point but I was looking for influences and different styles, I was eating this stuff up.

I discovered independent titles like Escape Magazine which at the time I found at the time a little too adult for me and later Deadline which seemed to speak to me more back then.

Deadline

 

Later when I was starting to think about being a comic artist I would l see your name on books when browsing in Forbidden Planet, looking for something more. It was good to see comics which were not done the Marvel way when being told at the time that was the only way to do it. It gave me the confidence to carry on.

 

I also have fond memories of UKCAC’s, going at first as a fan and later going with the start of a portfolio and seeing your name on the pin up in the booklets for the years I went. I still have some of them now. Your image in UKCAC88 looking back is wonderful. I wish I had bought it! Full of confidence and just a wonderful image.

So, thank you for broadening my horizons.

Laurence Campbell.

 

 

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Paul Rainey

Paul Rainey

Paul Rainey – comic writer and artist

Escape Issue 5 Phil Elliott cover
Escape Issue 5 Phil Elliott cover

During my teens in the 1980s, I made a purposeful decision to broaden the comics I read from UK newsagent and American superhero to now include Escape, the comics art magazine. It was here that I read Eddie Campbell and Phil Elliot’s work for the first time. Obviously, this seemed like quite a leap, but Phil’s rounded, energetic, Tin Tin styled drawings helped with my transition. I loved Phil’s work. It enjoyed being a comic. It rolled around in the language that all other comics had foolishly forgotten about and then invented its own. There has always been a sense of contentment in his work even back then, of an artist comfortable in his own skin.

If fourteen year-old me ever thought that Phil’s work is limited to only carrying his unique vision, then I was proved wrong very quickly. Early on, Escape published Doc Chaos, a sci-fi strip written by David Thorp which I loved and still have my copies of. Phil’s priority was never style or mood at the expense of the story.

Another collaboration I enjoyed very much was Second City, a four issue series written by Paul Duncan and published by Harrier Comics. Then there was The Greenhouse Warriors, written by Glenn Dakin and self-published, all copies of which I have also kept to this day. I was so impressed by the latter, that I contacted their printer and used them for my 1990s comic, Memory Man. Recently, Phil has reprinted strips he drew with Eddie Campbell for Sounds during the 1980s. What I like about these works, and others, is that it’s often difficult to see where Phil ends and the collaborator begins.

 

I think that Phil is definitely under appreciated. I often wonder how differently he may be perceived by the comics-hive-mind today if he had had the opportunity to illustrate a years in the making graphic novel written by Alan Moore. At a time when Phil’s peers were chasing gigs at 2000 AD and DC, Phil was working for Sounds and Fantagraphics and pitching Real Ghost Busters strips to Marvel UK. (This approach to work that I always imagined Phil to have, has been an influence on me). I remain delighted by Phil continuing to make comics like Malty Heave with Rob Wells and The Last Man with Michael Powell. The man’s an inspiration.

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Russel Mark Olson

Russell Mark Olson
Russell Mark Olson

Russell Mark Olson – comic creator

 

Elliott is one of the best cartoonists in the biz. In an industry cluttered by the scritchy-scratchy uncanny valley of layered upon layered digitally produced comics, Phil’s work represents the clear directness of deliberate storytelling. No superfluous marks. Everything on the page is in service to the narrative. There’s no ego, just consummate craftsmanship.

ES EF - page
ES*EF – page

 

Coming from the States, I was completely unaware of Elliott’s body of work until very recently. Ever since, I’ve been trying to make up for that shortcoming. Those of us in the current barnstorming UK indie press scene owe so much to him and others like Paul Grist and Eddie Campbell. He deserves a place on the Mount Rushmore of indie comics and should be required reading in all corners of the industry and beyond.

 

As I said, I’ve only recently come to his work (after backing ES*EF), but very recently, I purchased a prototype promo piece from him and he included as a surprise, a page of original art, presumably from an upcoming issue of Malty Heave. To top it all off, it was mailed rolled up inside an old box of clingfilm. Diamonds in the rough and all that.

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Alex Fitch

Alex Fitch
Alex Fitch

Alex Fitch – pod cast and radio presenter

Taboo #3 featuring Phil Elliott - Cover by Michael Zulli
Taboo #3 featuring Phil Elliott – Cover by Michael Zulli

I first came across Phil’s work in the form of a couple of memorable short stories in Steve Bissette’s Taboo anthology, and then probably like many people saw his name crop up as a sympathetic colourist on a number of British comics. His colouring of Paul Grist’s work and British kids’ comics has been great, and it’s a shame that although he’s a talented colourist, there haven’t been more mainstream comics that he’s had the chance to write or draw. The ones he has been involved with have been terrific, in particular his Cold War aliens graphic novel – Illegal Alien – that Dark Horse released some years ago.

Illegal Alien - written by James Robinson
Illegal Alien page – written by James Robinson

I think Phil’s place in comics history is to have been part of the terrific Escape generation, making memorable comics in collaboration with the likes of Grist, Glenn Dakin and Eddie Campbell. I don’t think he’s as well known as he deserves to be, but by the people who do know his work, it’s rightly well appreciated.

I came across Phil’s crowdfunding campaigns for his collaborations with Eddie Campbell that were serialised in Sounds magazine; seeing that all three were going to come out as separate volumes, I emailed him to ask if he might bring out a slipcase for the trilogy, when the third one hit kickstarter. We exchanged a few emails and he said that while doing a number of slipcases wouldn’t be viable, he kindly offered to make me a bespoke case to put my copies in, so I have a one of kind box-set of The Mammy, The Wonders of Science and Rodney – The Premonition! (Which was much appreciated)

Phil Elliott - Handmade box set for Alex Fitch
Phil Elliott – Handmade box set for Alex Fitch

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Paul Duncan

Paul Duncan
Paul Duncan

Paul Duncan – writer

 

Phil is the restless giant of the small press. Since I have known him, off and on, since the early 1980s, Phil has explored every avenue and type of publication. Writing, drawing, lettering, colouring, editing, publishing – he can do it all. Fearlessly.

He is prolific. He is diverse of subject. He is relentless. He cannot be pinned down. He supports so many other creators and publications. He is willing and giving. He delivers!

He is a collaborator. He will write for others, he will draw for others. He will support others.

He is a leader. He was there at the start of Fast Fiction and helped kickstart a movement of diverse talents. He spearheaded many titles for Harrier in the UK, giving many talents a wider audience, and then leapfrogged into America, doing likewise with titles for Fantagraphics, Slave Labor, and Dark Horse.

Undoubtedly, Phil’s greatest artistic achievement is Gimbley, a character who is all too human and fallible, and who may be occasionally melancholic, but ultimately understands the ironic qualities of life.

As for history? Fuck history – his work will live on!

By 1986 Phil had built up a diverse portfolio of work (Gimbley, Doc Chaos, Sounds) and I had not, but we both thought it would be a good idea to go to Paris, visit the BD publishers, and try to sell our ideas. We arrived in Paris, and walked along the Seine, admiring the Bouquinistes. Just as we arrived at a stall selling comics, a motorbike pulled up, threw down a pile of new comics bound by string, and whizzed off. The comic at the top of the bundle was Second City, a comic Phil and I had worked on together, published by Harrier. How auspicious was that?! Needless to say, it wasn’t. We visited publisher after publisher and they were not interested in what we had to sell, not helped by our lack of the French language. Still, the publishers arranged the meetings just before lunch, and so Phil and I dined heartily at the publishers’ expense, dissecting whole fish and quaffing wine and coffee.

 

best

-paul duncan

Phil Elliott – guest contributor – Michael Powell

Michael Powell
Michael Powell

Michael Powell – comic writer

 

Phil is a fantastic storyteller. It’s amazing how many different genres he can turn his hand to and yet still be recognisably Phil. We’ve worked on horror and sci-fi together, I’ve seen Phil produce work that’s funny, surreal and philosophical, sometimes all at the same time. He’s also a great writer too.

 

 

Phil has been there at every key stage in contemporary comics history. From Fast Fiction to Sounds, Escape, !GAG! and Blite, Phil’s always been there. He’s illustrated comics for mainstream publishers too, bringing that unique Phil Elliott style to Ghostbusters and Judge Dredd.

Judge Dredd
Judge Dredd

Phil’s been producing comics professionally since the 1970s but he keeps getting better! The new art Phil’s produced for Circus DeNiro is I think some of the best of his incredible career.

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Nevs Coleman

Nevs Coleman
Nevs Coleman

Nevs Coleman– reviewer

Tupelo - page 2

Matt DeGennaro and Phil Elliott’s Tupelo is sadly now out of print (although you can pick up copies on Amazon), Tupelo was originally published by Slave Labor Graphics in 2003 as a four issue mini series, and then published as a trade paperback featuring a cd by cult band Famous Monsters. I was working in the late Comic Showcase at the time and was staggered by how much each issue just… got it. Understood and recreated the atmosphere in my head. The sticky floors, the toilets with broken doors, the kids proudly showing off their home-made ‘X’s, the drone of the men who are too old in the head to be there. The Outside that oppressed with silent hostility. The outrage at the huckster hypnotist who stands in for every soulless advertising exec who preys on the insecurities they created and profits from them with promises of false hope.

Tupelo - page

They are, indeed, brilliant. Phil is some kind of Art Ninja Genius, distilling the page down to only its essential lines. Like a Toth, a Parobeck or a Kurtzman, this process looks like it’s easy, but it’s really the total opposite. Lesser talents can hide their weakness behind flashy layouts, unnecessary cross-hatching and other short cuts. If you’re working as Phil does, every flaw is going to scream out of the page at you. It never happens in Tupelo. The story pages are a beautiful discordant symphony. The… backmatter (hate that word) is both inspiring and a perfect approximation of prison letters, Zig Zag/Maximum Rock ’N’ Roll era music journalism and Punk Manifesto, with one issue containing an ideology that makes the likes of Fight Club sound like playing RATM too loud in your bedroom after your Mum’s asked you to clean up your room.

Tupelo

Phil is an astounding talented artist who’s just published In His Cups: Collected Tales Of Gimbley. It’s bloody good stuff and you should obviously all go buy it.  Ideally, he’d be on a regular book and there are no end of comics being published that if I were given editorial responsibilities on the title, I’d just say “Give it to Phil. He’ll make it work.” Personally, I’d hire him to redraw all those Todd Loren knock-off rock biographies as and when he felt like it while he got on with whatever made him happy.

 

 

 

 

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Robert Wells

Robert Wells
Robert Wells

Robert Wells – comic writer and artist

 

Phil is a great artist who seems to be able to draw anything and make it look easy (FYI, he is also really good at DIY) and his slightly surreal / not-quite-autobio stories are like poems in comic form.

(Editor’s note – he really is – look below!)

Although he’s worked for all sorts of publishers in the UK and US, Phil has a particularly important place in the history of British indie comics. The letters exchanged between Phil and Eddie Campbell, as well as the various rejection letters and other correspondence that they published at the back of the three collections of their Sounds strips, are as important and interesting as the strips themselves. Those books really should be collected by a big publisher, as should Phil’s Gimbley strips.

Malty-Heave-01-S1
Malty Heave

I met Phil for the first time in 2014, in the foyer of the Odeon in Maidstone.  I was living in Maidstone at the time and we had a mutual friend (a neighbour of mine who’d been to college with him) who kept promising to introduce us. When she moved away, still not having introduced us, I sent Phil a message through Facebook to say hello, and he replied asking if I wanted to see Guardians of the Galaxy with him and his nephew. So, we met, we saw the film, and after we’d seen it, we went back to his house, my wife joined us, and Phil and his wife cooked us dinner, having never met us before.

We’ve remained friends since then and I have shared tables with him (or had the table next to his) at several events. I still remember the amazing, Moebius-like, A3-sized drawing he did of a spaceship landing on an alien world that he effortlessly (or seemingly-effortlessly) produced the first time I sat next to him at an event, and then sold way too cheaply. I wish I’d bought it. However, as one of Phil’s Patreon supporters, I’ve received a lot of other art from him over the last couple of years, as well as various other bits he’s sent me, like the paintings he did for Department of the Peculiar Goes POP! issues 1 and 2. It was a pleasure to get to work with him on Malty Heave #1 and I’m looking forward to working with him again on #2.

Department of the Peculiar Goes Pop - pin-up
Department of the Peculiar Goes Pop – pin-up

Phil is a generous artist and a generous friend.

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Darryl Cunningham

Darryl Cunningham
Darryl Cunningham

Darryl Cunningham – comic writer and artist

 

Phil Elliott has always been an inspiration to me. I first got involved in comics way back in the 1980s and was part of a kind-of second wave of creators who were part of the British Small Press scene back then, who gravitated around Paul Gravett’s Fast Fiction mag. People who were already established on the scene at the time included Ed Pinsent, Woodrow Phoenix, Ryan Hughes and…Phil Elliott. Phil’s work was astonishing to me, because he seems to draw nothing from the traditional British style of cartooning and instead took from the clear line style of European cartooning – something rare in British comics. He was one of those people who appeared fully formed with a mature talent immediately. A big contrast to my own inadequate scribblings (And didn’t I know it).

ES EF - page
ES*EF – page

Years later I had chance to work with Phil on a couple of projects as a writer. At first I wrote him full scripts, but as the work developed i wrote less and less, because he is so talented that I realised that I could just leave it to him to come up with better visuals than I could ever describe. All he needed was the briefest panel description and the dialogue and he could run with it, filling the panels with action and humour. Phil is effortlessly easy to work with. He is incredible talented and modest. I’d work with him again in a second if he ever wanted to.

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Dan Abnett

Dan Abnett
Dan Abnett

Dan Abnett– comicbook writer and novelist

Phil is one of the real unsung giants of British comics.

His work is always touching and utterly distinctive, and I’ve always thought it an injustice that it hasn’t been more widely appreciated. Perhaps it’s the very nature of what he does best – very quiet and personal stories, often with a logic bordering on realistic dreaming – that has resulted in him being overlooked far too often. His stories seldom shout, and thus may get drowned out by the more flamboyant work of others.

Pool Tales
Pool Tales

Admirably, he has never compromised to “fit in” – his style remains true and perfect and unique. His work is long overdue the appraisal and proper recognition it deserves. In my opinion, he is a true artist – by which I mean singular creative voice – and his place in British comics over the last decades has been massively underrated… as is so often the case with true artists. Plus, of course, he’s an enormously nice person.

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – David Hathaway-Price

David Hathaway-Price
David Hathaway-Price

David Hathaway-Price – artist, writer, editor and curator of online zine archive

 

A small tribute to Phil Elliott

In His Cups - Collected Tales of Gimbley
In His Cups – Collected Tales of Gimbley

A couple of years ago, Tony Esmond was kind enough to invite me onto the ‘The Awesome Comics Podcast’, to chat about my fanzine archive, and to talk about all things fannish. I’m pretty useless behind a microphone (not helped by having a strong aversion/phobia about talking on the phone at all), but I was pleased to be asked near the end of the interview to recommend a small press comic that I thought people should read… The fact that my choice was ‘In His Cups: Collected Tales from Gimbley’ perhaps gives you an idea of how much I respect Phil, and just how highly I regard his work. Being a gentleman of ‘a certain age’, who often looks back and tries to make sense of his past and poor choices in quiff height, this collection really spoke to me. Of course, the frankly exquisite art may also have something to do with my appreciation of the work.

Mr Day and Mr Night with Glenn Dakin
Mr Day and Mr Night with Glenn Dakin

Right from the very start of comics fandom there had always been Strip zines of course, but the Fast Fiction explosion (and the proliferation of High Street Print Shops, which meant that you could get your zine printed off that day, rather than hanging around and waiting weeks for a ‘proper’ printer to fit you in somewhere) gave an outlet for people to start telling all kinds of stories (slice of life, rather than men in tights). Still living in the depths of South Wales in the early ‘80’s, and only visiting London very rarely, I missed out on both the ‘Crackers’ evenings and the opportunity to visit the Fast Fiction table as much as I would have liked. A shame, as I probably missed out on the great majority of the comics being published by the small press at that time. Without Phil, and the rest of the guys and girls paving the way, we might not have ended up with the thriving small press scene we are enjoying now.

 

If I remember correctly, I first contacted Phil to ask if he would give his permission for me to add his strip zine ‘ELIPSE’ (1977) to the archive; generous to a fault he of course agreed. Not only that, but about three years ago he contacted me, explained he was soon going to be moving home, and asked if I would like his zine collection? He wanted no money, he just wanted to know that they were going to someone who would look after them. If that doesn’t give you an idea of the man’s character and generosity, I don’t know what would.

The Day the General Came - with James Robinson

Thank you, Phil, you’re a treasure.

 

David Hathaway-Price

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – David Hine

David Hine

David Hine – comic creator

I first met Phil Elliott in the late 70s. I was aware of him through the fanzine culture and we were both contributing artwork to The Panelologist fanzine, which also featured some art by David Lloyd among others. I contributed to the fanzine Elipse, co-edited by Phil and soon after that we met for the first time at the UK Comic Art Convention, probably in 1979. I had a fanzine of my own, Joe Public Comics, and was bloody hopeless at selling it. We didn’t have tables, so it was a case of approaching people and persuading them to buy a copy. Phil grabbed a bundle of my ‘zines, went off and sold a couple for me. I was impressed.

Elipse fanzine 1977
Elipse fanzine 1977

This weekend I dug out some of my old fanzines and came across Elipse #3 – the very issue that I had contributed to. I had forgotten that this was the first time anyone published one of my full comic-strips, a lightweight horror story called “A Video-phone brings you so much closer to the one you love.”
In the editorial section, Phil had written up my bio where it states that “His major complaint with comics is the way commercialism perverts artistic talent, and says he won’t be satisfied until we get rid of deadlines and money.”
That seems a bit presumptuous for someone who had never worked to deadline or been paid for anything. Clearly I had set my sights on a high standard of aritistic integrity. Had I made it in indie comics back then I might have been able to pursue my goal of creating personal comics while starving in a garret. Instead I was cursed to spend a lifetime working to deadlines and getting paid for it.
I had also completely forgotten that when Phil gave me my copy of Elipse at that Comic Con he apologised for “erasing the penis.” I have made it my lifelong quest to get as many penises into comics as humanly possible, with a fair amount of success, but this was the first one to get censored – and in my first non-self-published work too! In retrospect it’s quite interesting because the knobless bloke looks like some kind of gender-neutral character – very advanced for 1978. (Editor’s note – an incident that Phil clearly remembers – check out this interview!)

Elipse - Censored Panel - David Hine
Elipse – Censored Panel – David Hine

We subsequently met up at various comics gatherings, mostly at the Westminster Comics Mart where I also met Paul Gravett who, with Phil and others like Glenn Dakin and Eddie Campbell, had set up the Fast Fiction collective of small press publishers.  Phil went on to work on Paul’s Escape magazine and became something of a superstar of the small press world. I never really fitted in, failed to make it into Escape and ended up on that path to mainstream comics instead.

Vignette Comics
Vignette Comics

The years went by and I pursued an up-and-down career in comics while Phil seemed to disappear from the scene. In the comics world if you don’t turn up at conventions, or at least have an active social media presence, you don’t exist. It’s the rule. When we finally met up again at the Malta Comics Convention in 2017, I apparently greeted Phil with “I thought you were dead!” We had a very pleasant time over the weekend, reminiscing about the old days, as we middle-aged grey-hairs are wont to do. On the way home Phil gave me a copy of In His Cups – The Collected Tales from Gimbley. I had seen a lot of these in various publications but it was only when I read them as a collected body of work that I realised just how good they were – surreal, oneiric, often disturbing and always hilarious.

 

Phil’s work with Fast Fiction and Escape has cemented his place in the history of British comics. He went on to work for Marvel UK, Rebellion, Dark Horse, DC, Fantagraphics, a whole string of publishers, collaborating with all kinds of writers, but for me those Gimbley tales stand out as the purest expression of his art. The conceit of a middle-aged man recounting tales from his youth is remarkably effective. I really should have asked Phil how it feels to look back on those stories from the perspective of the middle-aged creator. And also how much of it was autobiographical.
Maybe it’s better not to know.

 

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

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Phil Elliott – guest contributor – Paul Gravett

Paul Gravett

Paul Gravett – Publisher and journalist

 

Phil Elliott and I go way, way back, to our school days (different school but we’re both Essex boys).

Escape Issue 5 Phil Elliott cover
Escape Issue 5 Phil Elliott cover

Personally, Phil was crucial and instrumental as a friend, artist and designer at two key points in early 1980s UK comics history. First, the creation of Fast Fiction, both the Westminster Central Hall Comic Mart table and the anthology that he and Ian Wieczorek soon evolved out of it, notably designing the cool logo. I remember how Phil, Ian, Eddie Campbell and I used to use the PMT camera at pssst! magazine’s offices in London unofficially on a Saturday morning to reduce and prepare the artworks for FF Magazine’s printing. And secondly came the launch of Escape Magazine in 1983. Peter Stanbury and I picked out a panel by Phil to put inside the subscription prospectus and chose him to draw the first issue’s wraparound cover. Phil even found us our first issue’s printer local to him in Maidstone. We knew his quirky, bittersweet Tales from Gimbley had the spirit, style, suit and quiff that belonged in Escape. Inspired by Hergé, Swarte and more, Phil’s work personified ‘La Ligne Claire Anglaise’.

I’ve continued to admire and enjoy his work since, and it was a delight to have a reunion a few years ago, when we found each other over a lunch in the National Comics Centre in Angoulême during the city’s annual Festival. Neither of us could have imagined back in those old schooldays how far the comics world would change and grow, and how it could bring us back together.

Cheers to you, Phil!

Paul

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

all art copyright and trademark it’s respective owners.
content copyright iestyn pettigrew 2020

Phil Elliott – guest contributor – Glenn Dakin

Glenn Dakin
Glenn Dakin – creator and collaborator
Man From Cancer - Page
Phil’s work has a beautiful stylised quality, he can draw the most outlandish things and make you accept them.
When I decided to make The Man From Cancer (Marvel UK) all about marine life characters, I knew Phil was the perfect artist for it. If I wanted a character answering the phone, he would draw them as an enormous squid, and it would look weird, but perfectly natural.
Also Phil is a great natural storyteller, I never once had to write him a script for any of our comics, I would just rough out the page, and he would immediately ‘get it.’
To me, Phil is one of the great UK comic artists, a mixture of the aesthetically pleasing ‘clear line’ style, with an almost Ditko-ish nightmare lurking at the edges.
Something that captures that troubling quality to Phil’s work, when I first went to Australia to stay with Eddie Campbell, I wrote a little strip about a dream I had, and my first feelings on arriving in Brisbane. I sent it to Phil to draw up, and he captured something under the surface of my remarks… The strip ended up being printed in Steve Bissette’s horror anthology, Taboo! I was always found it funny that my holiday at Eddie’s ended up in a horror comic…

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

all art copyright and trademark it’s respective owners.
content copyright iestyn pettigrew 2020

Phil Elliott – guest contributor – Tom Murphy

Tom Murphy
Tom Murphy

Tom Murphy – publisher, Colossive Press and contributor, Broken Frontier

The clarity of Phil Elliott’s work and his gift for storytelling have made him a master across genres. However, the work of his that has carried me along for the last thirty-odd years is his epic Tales from Gimbley sequence – a wide-ranging series in which a middle-aged man looks back with the benefit of hindsight at the antics of his generously bequiffed younger self.

Back in the day, in the shoes of young Gimbley, I chuckled along in recognition of his misadventures and reflections on drinking, the artistic life, friendships and relationships. Now, looking at them through the other end of the telescope, alongside old Gimbey, I love them just as much for their wistful treatment of memory, emotion and the passage of time.

And, in possibly the biggest thrill of all, I’m now lucky enough to have the original artwork from a few of those iconic pages – pages that I’ve read so often down the years that they are imprinted on my brain. Let’s raise a glass to Phil Elliott – one of the true godfathers of the small press comic scene, as both an artist and an activist.

(In His Cups: Collected Tales of Gimbley is available here, in print or PDF)

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Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

all art copyright and trademark it’s respective owners.
content copyright iestyn pettigrew 2020

Phil Elliott – guest contributor – Russell Willis

Russell Willis by Hunt Emerson

Russell Willis – writer and founder of the Sequential comics app for the iPad

Phil Elliott was a massive influence on my me. It was his Gimbley strips in Fast Fiction that helped consolidate my interest in comics outside of superheroes. Had it not been for Phil and his small-press buddies, I would most likely have given up on comics altogether at the age of 13.

Doc Chaos
Doc Chaos

Instead, in 1983, I launched a “non-superhero” fanzine called Infinity and in the editorial of its first issue I wrote about how the work of Phil Elliott had inspired me. In the second issue of that mag, we had a lovely little Gimbley tribute from Graham Cousins.… And I loved featuring reviews of  Escape and Doc Chaos.

The fanzine attracted letters from the notables and upcoming notables of the day but I was truly delighted when I got a letter from Phil – right at the end of the zine’s run.
Running that fanzine was one of the most exciting and formative periods of my life, and without Phil’s work, it probably wouldn’t have happened.
Cheers, Phil

 

Gimbley image is by Graham Cousins and was included in the Infinity #2 which came out in early 1984
Gimbley image by Graham Cousins and was included in the Infinity #2 which came out in early 1984

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

all art copyright and trademark it’s respective owners.
content copyright iestyn pettigrew 2020

Phil Elliott – guest contributor – Graham Johnstone

Comic creator Graham Johnstone talks about Phil’s work and influence

 

Page from Dead Trees
Page from Dead Trees

 

I first became aware of the work of Phil Elliott in the mid 1980’s, probably first in Paul Gravett and Peter Stanbury’s Escape, and thereafter in a number of his lovingly assembled self-published comics.

I’d grown up with comics: Marvel had taken me to the point that I considered comics a unique and important art form and wondered what more they might do. I’d seen the American Undergrounds and the more experimental RAW, but Elliott seemed to be part of a distinctly British evolution of comics. In America there seemed to me, on the one hand, the melodrama of Marvel/DC, (and their offshoots into the nascent independents), and the other hand the brilliant, but almost painfully ironic re-appropriation of pop culture RAW. In Britain, I was aware of the gently fictionalised autobiography of (Elliott’s Fast Fiction magazine colleague) Eddie Campbell, but Elliott seemed to have struck on something different: an exploration of personal life and inner dilemmas (like Campbell) yet in a more poetic form. That’s also true of different talents emerging from the Fast Fiction diaspora like Chris Reynolds and Ed Pinsent, but I think Elliott arrived first and the others were most likely influenced, or at the very least, inspired by him. I know he certainly inspired and influenced my own work of the subsequent years, and what we published in Dead Trees.

He has a fine artist’s sensibility, that’s evident not only in his highly personal content and poetic approach, but also in his visual range and experimentation. To explain this, I’m reminded of a famous conflict in painting ‘the battle between line and colour’ with the former favouring detailed draughtsmanship and the latter building up images with tone and colour. To relate this to comics, think of one extreme as the Ligne Claire penmanship made famous by Hergé, and the other as the impressionist brushwork of say Milton Caniff. The early Tales from Gimbley show Europhile Phil absorbing Herge and progressing to the more expressive line work of the Belgian master’s successors. Like Serge Clerc or Yves Chaland,

Yves Chaland

Elliot mastered the art of varying line weights, to create a camera focus depth-of-field effect, while foregrounding the truth-to-materials (another critical hobby-horse) of ink lines on paper. Elliott’s able to balance: black, white and tones; space and detail; cartooning and realism – often in a single page. We can find all of this in a single Tale from Gimbley story involving a salvaged cigarette machine (In his Cups: Collected Tales from Gimbley page 130). If that all sounds the preserve of connoisseurs, let’s not forget that the versatile Elliott could also satisfy the more mainstream demands of Ghostbusters, without losing himself in the process. I could go on and on, the point is though, it’s hard to find examples of comparable stylistic range and mastery in comics or, I’d go further, any other visual art. He radiates a sheer love of drawing, and at his best, artistry with every element of it.

Phil and I met only met once. At around the turn into the 1990’s, I was invited to participate in an exhibition of upcoming local talent at (I think) the first Glasgow Comic Art Convention (GlasCAC), organised by Frank Plowright and colleagues. I bumped into Frank, who told me that someone had liked my work, and would like to meet. I was delighted that it was Phil. He proved as urbane and charming in person as on the page, and his interest in my work probably spurred me to take it into the world and publish Dead Trees. We’d hoped to meet again at UKCAC, sometime in the 90’s. However, by that time I was already juggling comics with a full-time job, homemaking, and a lengthy commute, with the result I didn’t make it to the Con. In those days before instant communication, I wasn’t able to let him know in advance, sadly leaving the impression I’d sauntered round the con and not bothered to find him.

I’ve hung onto my Gimbley pamphlets and picked up Elliott’s published collaborations with other creators. I was delighted to pick up In His Cups, with all his Gimbley work (so far) in a single volume. I’ve always felt Phil never got the full recognition he deserved – compared to say his similarly talented contemporary Eddie Campbell – and it’s a joy to see his increasing profile over recent years. I look forward to seeing ever more of his work and am delighted you’re recognising his achievements in this way.

 

 

Phil Elliott
Phil Elliott

See Phil’s work here

Patreon              Website           The Art of Phil Elliott – facebook page               twitter

 

all art copyright and trademark it’s respective owners.
content copyright iestyn pettigrew 2020