Today, we have an overwhelming amount of awesome content, but Artist August also continues as we feature the great Jonathan Case – artist of “Batman ’66” and “The Creep” – with a conversation about his work. We talk to Case about how he got into comics, how his parents influenced him, how Portland and Periscope Studios have helped cultivate his craft, and much more.
If you haven’t checked out his work, please do. He’s one of the most talented artists in the industry, and one with a truly diverse skill set.
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?
Case: There was a big turning point after college. I was part of a group that did a lot of film and theatre projects together, and we had some success doing festivals and that sort of thing. The summer of 2004, all my friends went to LA or New York, and I got really sick. I had to be on antibiotics for about nine months. Basically, I burned out, and I hadn’t even started into a real career. Lying in bed for days, I had time to think about what I wanted to do, and instead of choosing show biz, I chose comics.
That sounds kind of ridiculous to say, but that’s how it went. I figured comics would allow me to tell the stories I wanted to tell, with no budget, and huge creative freedom. I have nothing against show business, and I love seeing what my friends are up to. Comics just seemed like a good fit for my skills.
Who or what has influenced the development of your art the most?
Case: Probably my parents- SURPRISE! When they ran a bed and breakfast, they chose to home school me for kindergarten. Lots of different people and influences passed through our house. When my Mom tried to take me to public school the next year, I just told her I wouldn’t get out of the car. So I kept on homeschooling, and I got to soak up more of what my folks were into, books and movies-wise. Older stuff, mostly. I had plenty of time to do the creative things I liked. We traveled a lot, we lived on a sailboat for a few years, in Mexico, and met people from all over the world. So I soaked up a lot of different things through all that. Even though my parents don’t share my particular bent towards art, they always encouraged me, and in a round-about way, provided environments that allowed me to develop. That was a huge gift.
To me, your art has a very throwback style, but on your site, it appears you’ve definitely embraced digital methods of creating your art. For you as an artist, what has that done for you in terms of improving your art and your process, and what do you work with at home?
Case: I started out doing all of Dear Creature, my first book, in traditional media, and I was going for that throwback style. I worked oversized, like they did in the ‘50s and ‘60s, like 18×24 paper. I loved that. But I always want to try new things. You take enough freelance jobs, and you start learning efficiencies and techniques that you apply to the next piece of work. Right now I thumbnail and pencil digitally on a Surface Pro, then ink the printed Bristol pages, scan, and color on the Surface again. I mostly chose to pencil digitally because I work a little faster (instead of working big, I can zoom in and nail something, then get back to cranking through the page). I’m not working as fast as I did on Green River Killer or The Creep (those were on 11×17), but I like the results I’m getting. I hate drawing small, so even though I’m drawing on a 10” screen, with zoom I can effectively draw as big as I like. That’s the main advantage. Drawing small, on small paper, I’m limited by the motor skills of my hands. Drawing big, I’m more limited by my brain.
Continued belowYou’ve had a pretty busy last couple years, but your biggest project yet is nearly here: Batman ’66 with Jeff Parker. It’s already gotten a ton of attention and buzz, and I’m curious, how did it come together for you, and what appealed to you about the project? Were you a fan of the show/movie?
Case: I’m a fan of Jeff Parker! He’s a good friend, and a colleague at Periscope. The story I’ve been telling, and it’s a true story, is that we were out fishing, and he asked me if I’d want to draw this ‘60s Batman comic. I told him yes.
Previously, you’ve worked on some rather…umm…dark books in the past. Was it important for you to throw some lighthearted work in like Batman ’66, if only to mix it up a bit?
Case: Yes, I’m on a happy hiatus from dark projects. After a couple years of very good, but very dark projects, Batman ’66 is well timed. Jeff knows I love whimsy. Batman ’66, being retro, Jeff Parker-helmed, and whimsical, is sheer pleasure. I’m also doing a couple original GNs geared toward younger readers, on the side of my current freelance. So I’m balancing out.
Batman ’66 is an all Portland project, with Parker writing, you drawing, and Mike Allred providing covers. As an artist in a thriving comic city like Portland, what do you feel are the advantages – and disadvantages, if any – of living in a city such as it? I mean, besides ease of access to tremendous food all over the place.
Case: It’s cliché now, but Portland’s a gift to weirdos. Along with the natural beauty and the torrential rain that lets you stay in and get work done, I think Portland is just a friendly place. Coming out of left field into the comics scene, that was important for me when I started out. I met people doing what I wanted to do, and instead of saying ‘beat it, kid’, they were all helpful.
Not only are you a Portlander, but you’re a Periscope Studio member. Do you find that working in a studio with so much talent involved pushes you as an artist?
Case: It’s a huge help. We have twenty-plus artists and writers working in close quarters, and we’re like a big family. So it’s helpful creatively, but it’s also a real community where people look out for each other. Just being able to work among friends is a rare treat for a comics creator.
