It’s September, and as such you may have noticed that all of our wonderful Artist August features have ended. I know, I’m sad about it too. It was a lot of fun to bring back our yearly spotlight on artists in the industry in order to give the appreciation of art in the sequential art medium the kick in the pants it needs in the blogosphere.
But just because August has gone doesn’t mean we have any plans to start talking about art — and today we actually bring you a very special example of such. Artists Riley Rossmo and Menton J. Matthews both have books coming out later this year from different publishers, works that they’ve been putting together for some time now. Given that Rossmo and Matthews are both exploring work on their own rather than working with one writer or for one property, the two sat down to chat about their work, their thoughts on the industry and what their plans are for their books and careers. It’s a very interesting conversation, and one we’re proud to present to you today.
Read on as Riley and Menton chat about “The Memory Collectors”, “Drumhellar,” working as artists in the industry and more.
Riley Rossmo: What’s “The Memory Collectors” about?
Menton J. Matthews III: It’s about not being able to say the word NOW and mean it. All we are is a collections of memories; if someone or something knew how to alter those memories we would have no idea, in which case it would affect us in ways we had no idea. So in a lot of ways it is about what I think of a true horror.
RR: So it’s about perception of reality and the effect new memories have on our consciousness?
MJMIII: Exactly. That and I wanted to write a story I thought people could understand after “Monocyte.”
RR: “Monocyte” really pushed the boundaries of what comic book storytelling can be. I felt it was more poetic than most titles. What did you learn from it and how did it effect the creation of “The Memory Collectors?”
MJMIII: Wow, I could write a book just on that question. Don’t get me wrong, I am very proud of “Monocyte,” and I knew going into that book that not a lot of people where really going to get it. But I did not want to water the story down just to spoon-feed them; I think there is way too much of that in all entertainment mediums right now. I wanted to do the book I saw in my head.
But after doing that I really wanted to find a story I could truly believe in, that might be more down to Earth and at the same time something I did not have to spoon-feed the story to people.
RR: Why did you need to make “The Memory Collectors?” How did “The Memory Collectors” come about from concept to publication? Did you do samples? Did you shop it around?
MJMIII: I write very strangely compared to how I hear most people. I more or less make the characters in my head and give them as much life as can, to where they more or less have their own voice. “The Memory Collectors” came from a series of meditations I had about a year ago.
RR: How does narrative process work for you? Do you write a full script, do you do art and adjust dialogue?
MJMIII: I do not go anywhere near a script. I do some small thumbnailing, but the story is in my head. If I do not remember a part of it then that just does not get in. For me, art and storytelling is about externalizing the internal.
RR: So most of it’s developed internally long before it hits paper or computer.
MJMIII: Very much so. It has to be important to me, it has to resonate. I have been lucky enough to be able to do a lot of work for IDW. Ted Adams, Chris Ryall and Denton are all so nice to me and I am lucky enough to be able at times to get their ear on pitches. They are always nice and willing to listen to my insane ideas.
Continued belowRR: Do you plan the beginning, middle and end to your narratives, or come up with big set pieces and characters?
MJMIII: No, not at all. My first book I made, “Ars Memoria,” I pitched it to many companies and never heard a word back. It really almost stopped me from making comics, but in the end I made my own book, self-published it and I started getting paid work after that.
The way I see it, if you want to be a runner then you have to run. You’re not going to get into the Olympics just because you want it. If you want to make comic books, make them; you do not need a publisher to make a book, and if you think you do then you should not be published. If you make something you really love, others will love it too.
RR: I love the titles you come up with for books. I agonize over mine. Do you just run with the first thing that hits you? Do you consider the marketability of the name, your art or storytelling?
I guess what I’m saying is, why do you make comics the way you do? Oil painting a comic isn’t conventional or necessarily time efficient. I know you integrate some digital elements; what’s the break down of traditional versus digital?
MJMIII: Not to sound strange, but somehow thus far they are always just there in my head when it comes to the project. And thank you!
Well, oil painting is my first love outside of my wife and son. But I am taken to digital work because I am able to change it up a lot more in the editing phase of the book. It just adds to better storytelling for me. I try and oil paint the covers, as that is the real fun part for me, but as far as storytelling goes digital is just too versatile to let go of. But I do have books in the works that will be fully oil painted.
RR: Can you talk about it? And why does it need to be painted?
MJMIII: Well I am working on “Ars Memoria” book two, and those just have to be painted. Too much of a personal book, and I love sitting around with all the paintings from it.
RR: Do you ever consider Hollywood when creating a book? Does film viability factor into your process? I’d love to see the atmosphere you create represented in film.
MJMIII: No, never. I wish I was that smart, but I just want to tell the stories that are in my head.
RR: Any other thoughts on putting out books?
MJMIII: It is the hardest thing I have ever done, but I truly love it.
MJMIII: So, when did the idea of “Drumhellar” start? And whose idea was it?
RR: I was thinking about doing another horror mini. I had a dozen or so ideas for “Creepy”-style stories. I got to thinking that instead of having to rebrand and restart a new concept every 5 months, what if I found some threads to weave all the little concepts into a larger one.
MJMIII: When you say larger, you seem you have a plan? What is the future of this project?
RR: I’m thinking long term right now, as the narrative that develops the threads that run throughout the book reach farther and farther. When I start building a concept I usually have an image or concept that act as a catalyst; once the image or concept is solid I figure out the end and whether the book’s 4 issues or 40 issues.
MJMIII: So you’re willing to make this an ongoing book? I had no idea! First off, let me do a cover! Second off, I am extremely excited!
RR: Yeah, right now I’m thinking 25 issues! And yes, of course to a cover!
MJMIII: Wow! 25 issues, that is amazing! For lack of better words, where did you get the balls to go for an ongoing?
RR: I needed to make something that incorporated the things I’m interested in: horror, consciousness, indigenous cultures and psychedelic images. I like the conceptualizing aspect of making comics almost as much as the image generation.
Continued belowMJMIII: I am really excited about this just as a fan of yours. I have always been a huge fan of your work, I love how when I see something you have done, there is no question who did it; I can spot your work from across the room. I love that you are not a rip-off of anyone. Was it hard getting to your own style?
RR: I tired out a lot of different techniques over the years. I try to make art that suits the content. For a long time I struggled with the concept of style… I felt like I had to make stuff clean and simple but I’m just not that person. I can’t help but be messy. I think as I make more stuff and my body of work grows people have started to like how I make comics even if it’s not mainstream.
MJMIII: I remember first seeing your work in “Proof” back in the day and just falling in love with it. How do you feel you have grown as an artist? And where would you like to grow? Are you happy just making comics, or do you want to one day reach out to galleries?
RR: Thanks, “Proof” was my first real break and I couldn’t believe someone was willing to take a chance on it.
I’m getting more confident in my drawings. I’d like to write/conceptualize more. I love making comics and I love painting, I love painting big; if I could, I ‘d like to do one gallery show a year of large scale ink/acrylic paintings — I just need more time. I do a couple of group shows a year.
MJMIII: I would truly love to see that. What is the one thing you wish you knew before you started making comics? To me, I wish I would have slowed down a bit and started with stories that were easier to tell, but more then anything I wish I believed in myself more when I started. That seems like the real trick — it sounds simple but it’s much harder to walk.
RR: I feel like I would have benefited from making more comics — not doing samples but full comics of some kind. I struggle with how to balance the technical aspects of comics with just doing it. I thinking focusing on storytelling is way more important than anatomy or perspective. Also, I felt bad that even though I loved comics after college I was making most of my money in art off film and editorial art. Any drawing makes you a better artist.
MJMIII: I could not agree more.When I have looked back at the guys I truly love in comics, I think they all put storytelling in the front. I really think in the end we are trying to tell the best stories we can, but I do feel at times the art can add mood to a story no words could ever touch.
RR: Me too. I love the passion you bring to everything you do, pushing storytelling formats and atmosphere.
MJMIII: Well, I can not wait to see Drumhellar. I will be pre-ordering it every month. But before we go, do you want to tell people what they don’t know about pre-orders and creator made comics?
RR: Pre-orders are the secret to creator-owned books. When working on a book for Marvel or DC you get paid a flat rate for your art. Maybe there are some royalties, but the majority of your income comes from your page rate. Doing a creator-owned book you are predominantly paid from total sales, so you get paid proportionally to how many books you sell — hence the importance of comics enthusiasts letting retailers know how excited they are for a book. Do you have any thoughts on pre-orders?
MJMIII: Oh, I could write another book on this alone! Pre-orders tell publishers what people like; it is your voice and your vote in the world of comics. Even if just the people who wanted to make indie books pre-ordered indie books we would be better off. So if you want to make books, go out and get a Previews and order some books from your local store!
“The Memory Collectors” by Menton J. Matthews III goes on sale from IDW on October 30th with Diamond Order Code AUG130449. “Drumhellar” by Riley Rossmo and Alex Link goes on sale from Image/Shadowline on November 6th with Diamond Order Code SEP130495.
