MEETING EDGAR ALLAN POO'S THOMAS BOATWRIGHT

[MattBrady]

by Zack Smith

Thomas Boatwright’s vivid, colorful artwork for Image’s The Surreal Adventures of Edgar Allan Poo has earned raves for its unique style, which combines cartoony characters with illustrative designs and lush, swirling landscapes. The up-and-coming artist, who lives in Greensboro, NC, spoke with us about his work and the challenges of bringing Edgar Allan Poo’s world to life.

Newsarama: Thomas, tell us about yourself and your background. What are some of the different projects you’ve worked on?

Thomas Boatwright: I attended the Joe Kubert School in NJ for one year (2002-2003). It just wasn’t for me. Worked on a small horror movie production that never came to be. I was the concept artist. I was going to work on storyboards and even help the make up guys create the monster.

While working on that production, I worked with Ryan Rubio. After it was over, we decided to keep working together. I started turning one of his old short film scripts into a graphic novel. While working on that, we came up with the concept that would become Cemetery Blues.

We premiered first issue of Sequential Matinee at Free Comic Book Day 2005. It contained the first 10 pgs of Squared Circle (the graphic novel) and a short story of Cemetery Blues. It also contained another short story in text format with illustrations.

Based on the feedback from that issue we decided to move forward with Cemetery Blues. Squared Circle is on hold for a bit, but every now and again we'll break it out and talk about it.

While Ryan wrote a number of Cemetery Blues shorts, I sketched on the characters endlessly. Working and reworking the characters attributes. After a few months of that, we began work on the first Cemetery Blues mini-series.

Cemetery Blues: The Curse of Wallace Manor premiered at Heroes Con 2006. It went over like gangbusters! People from across the building would see it in the hands of folks who bought and question where they could get their own copy!

Issue two came out in September. Issue three, however, was delayed because of the printer. Otherwise, it would have been out in time for Christmas and made a lot of people happy. Unfortunately, that didn't happen and we're looking in to finding another printer. Issue three is available...somehow. If you need a copy hit us up at www.sequential.matinee@gmail.com

NRAMA: How did you come to work on Edgar Allan Poo?

TB: Back in December 2006, a gentleman by the name of Dwight L. MacPherson put out a bulleting seeking artists to fill in on one of his web comics. My contribution for WHACKED! ran during the week of Christmas and it turned out very well. Dwight told me about his next creation, and said my art would be perfect.

I began work on The Surreal Adventures of Edgar Allan Poo back in December 2006. Originally it was to be just a weekly web comic to tie in with a children's book. However as we progressed it seemed publishers were becoming very interested in publishing it.

The work load was bumped up and after working myself silly (for no pay mind you) issue #1 was completed around the middle of February. For a project to go from concept to first issue completion in only two months is almost unheard of in this business. Usually, only the big guys can pull that off.

Shadowline Image picked us up back in March, and we finished the whole deal in late June. It was released on August 20something or other. They liked my work and said they'd love to work with me on anything else. Ryan and I pitched them Cemetery Blues. We're working on a three issue sequel due out in January.

Sometime during the summer we also put out a little ashcan comic called "Zeke Deadwood: Zombie Lawman" which you can only get through us personally or at Acme Comics.

Right now, I’m trying to find a day job to make ends meet. Creator-owned publishing isn’t much different than plain self-publishing, in the sense that you make no money.

NRAMA: What are some of the techniques you use in your work?

I pencil onto a 9.5x14 vellum Bristol. I ink it with non-waterproof ink…the kind they tell you not to buy. But I like that I can get a nice wash effect when I need it. It also flows better from the cheap fountain pen I use.

I have two water-brushes I use as well. They're a basic nylon brush, but you can unscrew them and fill them with water or use an ink that won’t clog. One is filled with black, the other with a wash. I do a sort of mix between water color and traditional inking.

I never ink the panels in. I can do it so much faster in Photoshop, which is where my pages really start to take shape. I fill in backgrounds and larger gradients, and add lighting and other special effects too. But I still try to keep it as close to looking "real" as I can.

And I also always draw on the backs of pages…saves a lot of money that way. Seeing as the pages aren't really much to look at, I don't think they'd sell anyway.



NRAMA: Don’t sell yourself short. Who are your biggest influences as an artist, both in comics and in other mediums?

TB: Animation in general has always fascinated me. I knew from an early age how to tell a Chuck Jones cartoon from a Bob Clampett. All the Warner Bros guys brought something fun and unique to the show. Those are the first artists’ names I recognized.

Comic strips held my attention from as far back as I can recall too. Charles Schultz and Bill Watterson were my favorites. As I got older, names like Charles Addams and Gary Larson became very familiar. I'm more into to cartoonists than regular comic book guys, Edward Gorey being my all time favorite.

I love to study over old illustration work. Especially the pulp covers. James Bama's Doc Savage covers, while not that old, still excited my imagination whenever my dad brought a new one home. Frazetta is still a god, though I think you have to take the stories about him with a grain of salt. His work speaks for itself though. They are so many I love, (but) I can’t remember all the names. But I know their work.

As far as actual comics, I'm a big fan of Alex Toth, Frank Miller, Mike Mignola, Eric Powell, and Darwyn Cooke. But my favorite working professional right now is Guy Davis. I'll buy anything he does. I love a lot of the indy books out there too, or the art at least. I may not read them all, but I look through each one I can get a hold of.

A friend once said I should have been born earlier, so I could have worked at EC. I tend to agree. I found that stuff through reprints back in the early 90's. Those were some of the best comics ever made.

Outside of comics and art I'm a big music fan. If its a song that grabs me and I relate to it somehow then I like it, no matter the age or style. If it gets me thinking or tells a great story, then I'll listen to over and over. I like that stuff that makes me want to draw it or the feeling that it conveys. I’m a big fan though of vintage blues and country. Stuff from like the 1930's on back.

I’m big into old horror films, especially from Hammer Studios. They had a lot of original ideas. The Universal monster pics can’t be beat, either. Bride of Frankenstein is a must-own classic. My problem with horror movies these days is that there are just too many kids in them.

I've been listening to a lot of old radio shows recently. They help a lot with long hours in front of a desk. And they have a flavor that seems to have been lost.

NRAMA: Edgar Allan Poo has been published at a slightly larger album size. What advantages does that allow you as an artist?

At first it was a problem, because the first 22 pages were in regular 6x9 ratio. I had to spend some time formatting them. No easy task, mind you. It’s painfully obvious to me in places.

Otherwise, it really had no effect. The pages were just a little wider. I did get to save time and not have to measure were the edges were an 11x14 pad of Bristol. It was the right ratio to begin with.

NRAMA: There's a very unique use of color in your work. I'd like to know more about what coloring techniques you use, and how you use color in your storytelling.

TB: I do everything in grayscale in an ink-wash style. Either through actual ink or digital methods in Photoshop. I create that watercolor look all in Photoshop. The grays create the lights and darks, then I add color to them to create the hues and saturation. It’s very similar to oil painting – grays first, then color. On top of that, I add the finishing touches and effects.

I started out on Poo just doing a sepia tone. Then I decided to add another color. Very quickly, I figured out that I would have certain color schemes for certain moods and places. The most obvious, of course, is the purple. I decided to hold that color only for the Nightmare King and any scene he has something to do with. Just about any time
you see the color purple there's danger about.

NRAMA: As you've mentioned, this went from concept to complete comic in record time. What were some of the challenges in working at this pace?

TB: It put a strain on me mentally and physically. I really hurt my hand from stress. Some nights, I couldn't even hold a pen – it just fell out of my hand. All my relationships suffered from me having to work a day job and try to do this book.

As far as actually working on it, I had to learn to just do my best and move on. No looking back until you’re done. If there was major problem of course I had to fix it, but I'm talking more about questioning yourself. You don't have a lot of time to think "what's
the best angle for this?" or "what would it look like this way?” You're pretty much running on instinct alone.

NRAMA: It sounds like this has been a very demanding project. What do you enjoy about working on Edgar Allan Poo – what about the story appeals to you?

TB: I’m learning quite a bit. It was almost like doing another year of school. Everything I knew before was either strengthened or done away with. Doing 96 pages of full art teaches you more about your skills than any school ever could.

Storywise, I like the idea that an artist's pain is where the creativity comes from. You can’t have one with out the other. It's something I really identify with.

The Surreal Adventures of Edgar Allan Poo is available in stores now, or can be read online here.

[Blackbeard]

It's about time we got a Thomas Boatwright interview!

Well done, Zack and Thomas!

[jlm1955]

Thomas Boatwright has a wonderful style and Edgar Allan Poo was a great book. Go out and buy it!


http://comicsand.blogspot.com/2007/0...allan-poo.html

[Kevinjohncon]

Hello, Thomas!
It was great reading about the difficult reality that creative people endure to find a niche in this microcosm of the publishing world. I have the Shadowline imprint of ...Edgar Alan Poo, and am awed at the unique 'surreal' worlds you've created with your cartooning skills and water color washes and the color scheme of the page sets the mood and moves Dwight's story along.
The pages on the web, http://chemsetcomics.com/ in RGB with a little apple 'U' saturation adjustment blast off the screen!
I can appreciate the road you've traveled to get to this point, where your contributions are getting recognition and you can go into a store and get a copy of something you've put a lot of time, and sweat, and sleepless nights, into creating and reached a difficult milestone in this industry. So, as a fan, here's my "Great job!" and 2 back pats.
Soon there'll be too much work, and you'll remember these times to help endure what's ahead.
You will have success in this field!
-Kev

[rwe1138]

More Poo! More!

[Boatwright]

Originally Posted by Blackbeard

It's about time we got a Thomas Boatwright interview!

Well done, Zack and Thomas!

Thanks!

First and probably last, though. We all agreed Ryan does the talking from now on. haha!

[Boatwright]

Originally Posted by jlm1955

Thomas Boatwright has a wonderful style and Edgar Allan Poo was a great book. Go out and buy it!


http://comicsand.blogspot.com/2007/0...allan-poo.html

Thanks for the comment and the wonderful review!

[Boatwright]

Originally Posted by Kevinjohncon

Hello, Thomas!
It was great reading about the difficult reality that creative people endure to find a niche in this microcosm of the publishing world. I have the Shadowline imprint of ...Edgar Alan Poo, and am awed at the unique 'surreal' worlds you've created with your cartooning skills and water color washes and the color scheme of the page sets the mood and moves Dwight's story along.
The pages on the web, http://chemsetcomics.com/ in RGB with a little apple 'U' saturation adjustment blast off the screen!
I can appreciate the road you've traveled to get to this point, where your contributions are getting recognition and you can go into a store and get a copy of something you've put a lot of time, and sweat, and sleepless nights, into creating and reached a difficult milestone in this industry. So, as a fan, here's my "Great job!" and 2 back pats.
Soon there'll be too much work, and you'll remember these times to help endure what's ahead.
You will have success in this field!
-Kev

Thank you very much. That all means a lot to me. Most people don't know how much hard work goes into those little doodles cartoonist make. Im very appreciative of your praise.

Again, thank you

[Robbo]

Great cartooning! Edgar Allan Poo is amazing and I can't wait to see Cemetery Blues...

[Boatwright]

Originally Posted by Robbo

Great cartooning! Edgar Allan Poo is amazing and I can't wait to see Cemetery Blues...

Thanks man! If you want, hit us up at sequential.matinee@gmail.com and you can purchase the first Cemetery Blues series we self-published in '06.

[rwe1138]

What? I'm not good enough to get a reply? Fine, whatever. See if I buy the sequel.

*sulks in corner*

[Thomas Mauer]

Nice! You deserve the spotlight, man.