Artist August: Khoi Pham (Interview)

Khoi Pham is another member of Ten Ton Studios, and one who has had a ton of big projects under his belt, from work on Mighty Avengers to the mini-event Chaos War to his current work on X-Men Legacy. His work has earned him a ton of praise, and we’re excited to talk to him on today’s Artist August interview.

We talk with him about how he got into comics (specifically how he transitioned from being a lawyer to an artist), what his influences are, what it was like working on an event book like Chaos War, and a whole lot more.

Check it out after the jump.

Is there a single moment in your life you can look back on as the moment you knew you wanted to work in comics? Or was it more of a natural progression that led you here?

Khoi Pham: Hmmm. I think wanting to WORK in comics came as a natural progression. Drawing and making up my own lame stories was always a hobby, but I never seriously entertained the notion getting paid to do it until much later in life. When the urge to work in comics DID hit, it was like a huge epiphany, like, what the hell was I doing this whole time? I should be drawing comics!

I read that you were a criminal defense lawyer before you became a full-time artist. Why did you decide to get out of that world, and how have you not drawn a Daredevil arc yet?

KP: Yeah, I was a criminal defense attorney. Actually, I was an Assistant Public Defender to boot! And on top of that, during my first year orientation at Penn Law School when asked to name “attorney you most admire,” I wrote down “Matt Murdock.” Haha. I’m sure nobody else had the same answer. So, yeah, why HAVEN’T I drawn Daredevil yet? Haha. But anyway, I digress. I LOVED working at the Public Defenders Office (in West Chester, Pennsylvania to be specific — shout out!), and it was a really fun time to be doing TWO things that I loved. Add in my awesome wife and kids, and that made THREE things I loved. However, I was getting burned out. So something had to go, and the law job took the hit. I still miss lawyering at times, but not too frequently.

A penciled page from X-Men Legacy 253

Who or what has influenced the development of your art?

KP: Well, growing up, I was an Uncanny X-Men junkie, so Paul Smith, JRJR, Art Adams, Barry Windsor-Smith, Rick Leonardi, Walt Simonson, Alan Davis, ….. All those guys. Later, I got into Frank Miller, Jim Lee, David Mazzucchelli. And even later, I fell hard for Travis Charest, Leinil Yu, and Steve McNiven. I think I have a little something from ALL of them in my work. Those are ARTISTS that have influenced me, but much of my continuing development comes from working with fantastic editors and professionals at Marvel. I’m always asking everyone at work how to get better, and thankfully, they tell me! And lastly, my guys at Ten Ton Studios were and continue to be a big inspiration.

You’ve worked on a diverse list of projects in your career so far, from Moon Knight to Batman/Spawn, from regular arcs to full-blown events. With all that you’ve done so far, what have been your favorite projects and characters to work on?

KP: I’ve never done either of those two books — those pages that float about the internet were actually just sample pages. But to answer your question, I’ve been really lucky so far to have the chance to work with so many awesome collaborators and projects that’s it’s just impossible to pick a favorite.

Chaos War has arguably been your biggest project to-date. What was it like on working on a game-changing event, and how was it working with the team supreme of Greg Pak and Fred Van Lente?

KP: Greg and Fred are awesome. Super awesome writers and even better guys. Chaos War was a blast, in that I got to draw a TON of characters I’ve never drawn before. That’s always fun for me. Like right now, I’m drawing the Starjammers. How cool is that? So yeah, Chaos War offered a lot of that. Plus, it was nice to reunite with the guys that I did the original Hercules relaunch with. Fun times.

A penciled page from X-Men Legacy #253

Growing up as a self-titled “Uncanny X-Men Junkie,” how stoked are you to be drawing one of the major X-Books in X-Men Legacy? How has the experience been so far, and what is your favorite aspect of it?

KP: Dude, I’m in the middle of drawing the X-Men and the Starjammers. How cool is that? I’m seriously having a blast. Mike Carey is awesome, and the whole X-Men office at Marvel is top notch. I couldn’t ask for a better arrangement.

There is a lot of movement from creators towards creator-owned books (like Ten Ton’s very own Reilly Brown). Have you ever thought of heading in that direction yourself?

KP: Yeah, I’ve got a few ideas brewing. 🙂

Does feedback (both positive and negative) with fans and critics via social media (or Ten Ton) push you as an artist? How does that aspect affect your art?

KP: I’m always pushing to get better, so all feedback is welcome. I’m pretty thick skinned as far as artists go, which probably isn’t that thick skinned at all, but I try and take away something from everybody, good or bad.

You’re a member of Ten Ton Studios. What does working in this online collective do for you as an artist, and how did you get involved with the group?

KP: Ten Ton is awesome. We started as just a bunch of unpublished goofs going to conventions to party, but then guys actually started getting work. Before you know it, we’re actually sort of legit. It’s pretty awesome to everyone kicking butt, and it’s that butt kicking that makes me want to be even better. I’ve got so much to learn, and hanging with these guys definitely helps.

In the digital age, new tools are available to artists of all types. How does that affect and expand your work?

KP: You know, I’m pretty old fashioned. Pencil and paper, that’s it. My computer is only good for looking up references, scanning, and sending scans to my editor. I have a lightbox that I occasionally use, but otherwise it’s pretty simple. I like to work fast and light, and all that digital stuff seems too tedious to me.

In the average comic book criticism or review, artists are typically given a lot less hype than writers are, even though this is a visual medium. Why do you think that is?

KP: That’s interesting, right? When I was kid, the artist got all the pub. I think now, there are so many talented artists out there that the bar has been set pretty high. I think readers are a bit spoiled. OR, perhaps comic book art has gotten so sophisticated that it has moved beyond the appreciation of your average reader. I like to think it’s the second one.

Comics, even with increasing acceptance amongst the mainstream, are still a niche medium. With that in mind, have your friends and family always been supportive of your pursuit of a career in this field?

KP: I don’t think most people actually understand exactly what I do, but everyone likes being able to talk about me to their friends. Hahaha.

What would be a dream project for you?

KP: My ultimate hero in this business is John Romita, Jr, and the way that he is synonymous with Marvel as a whole, not any specific book. So my dream job is ALL the projects.

Desert Island question: one book, one album, one film and one comic. What do you take with you?

KP: Magician by Raymond Feist (guilty childhood pleasure), History For Sale from Blue October, and Daredevil: Born Again hardcover.

Who are your favorite artists working in comics today?

KP: I really like a whole bunch of guys, but the big one that comes to mind is Olivier Coipel. Great stuff.

Things have been a little quiet for you since Chaos War. What projects do you have coming up?

KP: I’m part of the X-Men: Legacy rotation now, going back to issue #250. Issue #253 is on shelves now — I’ve attached some pencil scan from that one. Also, I did Age of X: Universe with Si Spurrier between Chaos War and Legacy.