In the majority of our Artist August interviews, we’ve been asking artists who their favorite artists in the industry today are. A number, including yesterday’s edition with Sean Gordon Murphy, named today’s artist: Dan Panosian. He’s someone who has been working in the industry for a long time in numerous capacities, but it’s really been the last few years where he has become the artist’s artist. The guy is a killer, and his work, which can be seen on sites like What Not! and Comic Twart as well as DC’s “G.I. Combat,” has really blossomed over the last few years.
Check it out as we talk to Panosian about what it’s like being an artist’s artist, what working on art blogs does for his work, and much, much more. Thanks to Dan for chatting with us, and check back later for a feature showcasing his art.
Can you look back on your life and recall the single moment or work that made you want to work in comics? Or was it more of a natural progression that led you here?
Dan Panosian: My father introduced me to Batman as a kid. He was an artist and he liked the work of Neal Adams, Joe Kubert and John Buscema. When I was young he took me to see the Conan movie and later bought me a copy of The Savage Sword of Conan. I made up my mind right then and there! I was hooked!
Who or what has influenced the development of your art the most?
DP: Very hard to say. I’m influenced by the way art makes me feel. Some artists do a better job of evoking emotions than others. Not every artist has that visceral affect. The communication between the artist and the appreciator. It’s a rare thing. Frazetta had that. A lot of his imitators did not. I would say Frazetta, Kubert, Adams and Buscema got me going. Looking at Cornwell and Leyendecker moves me. Gibson really makes me appreciate line. So does Klaus Janson and Zaffino. An artist like Sergio Toppi makes me rethink shape and volume and tone. Sorry, my head is spinning now.
One thing I’m often curious about for artists is whether or not they use digital aids in developing their art. After all, in today’s digital age, new tools are available to artists of all types. How does that affect and expand your work?
DP: I do. I pencil some layouts and then primarily pencil in Photoshop. Then I print out blueline pencils and ink them traditionally. The zip-a-tone effect you see in a lot of my work is done in Photoshop. If I don’t like the size of a head I’ve drawn, I’ll reduce it in the same program. What my originals look like and what gets printed are often vastly different.
Before we get too deep into this, I have to ask: where did the title Urban Barbarian come from?
DP: A girl I knew gave me that nick name. I had a Harley at the time and I was obsessed with weight lifting and boxing. It was a bit of a dig at me but the name stuck!
I’ve been getting back interviews from a range of different artists around the industry for this, and your name has come up multiple times in terms of “favorite artists working in comics today.” So, in some ways, you’re the artist’s artist. For you, as someone who has been working in the industry in a lot of different capacities for some time, what does that mean?
DP: If that’s true, I’m very flattered. Are you making them do shots before you discuss such things?
One thing I love about your art is it seems to pop up damn near everywhere. You’re very active on DeviantArt, you participate in art blogs like What Not and Comic Twart, and your name and work just seems to show up everywhere. Where does that drive to stay highly active in such a way come from? Is it a way to expand your art, or is it your passion for art, or some blend of both?
DP: I love art and I love design. I’m a big fan of modernist furniture design and I get excited by typography. I guess that’s a bit odd -but I just want to participate in the same arenas that excite me. I love branching out and trying new styles. I love to experiment. If I see an artist that inspires me I enjoy attempting something in a similar vein. It’s fun to see your work re-posted. Anytime I see something I drew pop up someplace that isn’t comic book related I feel like I’ve made some strides. Maybe I’ve reached someone and they’ll back track the drawing and possibly give comic books a chance.
Continued belowHow would you say your art has progressed over the years? When you look at work you were doing ten plus years ago, what would you say has changed and improved most dramatically in your work?
DP: The early part of my career was primarily inking. Sometimes good and sometimes bad. I penciled a little bit. Things like Prophet for Image and some X-Men work here and there. But looking back it was terrible work. Cringe worthy. I took some time away from comic books and it forced me to learn how to draw. I stopped drawing to make things look like a comic book and just started drawing. I think that made the difference. Back then I wanted to be Jim Lee because he was THE artist everyone was copying. I didn’t know why I was using the cross hatching I was using other than “it looked cool”. Jim did. That’s why it worked for him and not for me. I didn’t have a clue. Life drawing really changed things for me. Drawing without concern for what fans, editors or anyone else is into also changed the way I draw. Now I draw to make myself happy.
Your work can currently be seen in G.I. Combat in the Unknown Soldier story written by Jimmy Palmiotti and Justin Gray. What appealed to you about that project, and how has the experience been working on the whole New 52 + 4 endeavor?
DP: Jimmy is a good friend of mine and he’s always championing me to the editors. I’m not too thrilled with caped superheroes and the Unknown Soldier fits better with the type of characters I really dig. Punisher, Wolverine, Nick Fury, 100 Bullets… Crime books. The Unknown Soldier is not a conventional superhero. Jimmy Palmiotti and Justin Gray aren’t conventional writers. They write their stories more like screenplays.
For someone who has worked on so many major titles throughout the years, I’m curious, is there a dream project you’re still pursuing? Is there something you’ve always wanted to put together that you haven’t had the opportunity to do yet?
DP: I really want to write and draw my own comic books and take some stylistic chances. I think most artists do. Right now I have an animated tv series I’m pitching. I don’t want to say much too about it until the studios respond. It’s very exciting. My fingers are crossed and I’m not terribly superstitious.
Who are your favorite artists working in comics today?
DP: Dave Johnson, Andrew Robinson, Eric Canete. Sean Murphy rocks. Walt Simonson. Sergio Toppi keeps killing it.
It looks like your time on G.I. Combat at least temporarily wraps with issue #4. What other projects do you have coming up?
DP: I’m illustrating a new series of graphic albums [ novels ] for Le Lombard with the best selling author Stephen Desberg. I’ll have 100% of the art chores so… Yeah. I hope the reception is positive in Europe. Damn it, my fingers just crossed again!
