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Interview with...
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MFD: Ken, could you tell us a bit about yourself?
KEN: I began this journey as a young comic collector about 1972. Sounds mundane, but it was summer and I was a bored 8th grader looking for a hobby or something to do. I have 5 brothers and we always had a bunch of comic books lying around, so I decided I would round up whatever I could find, catalog them and call it a collection. In that pile was Kamandi #1 (Jack Kirby, DC), which I collected for its entire run. I was then going into high school, I had to collect in secret since comic collecting was not as cool back then and I knew NO other collectors. You could seriously get beat up, or worse - - laughed at! Most of my comics in those days were purchased at a Rexall drugstore in Phoenix from a spinner rack, and I could buy just about everything DC and Marvel put out with school lunch money (25¢ per day). I was pretty skinny as a kid.
MFD: When did you get serious about art?
Started drawing as a youngster...copied a lot of stuff. About 1st or 2nd grade, I remember copying a Batman image from some sort of puzzle game we had and adults reacted favorably. I realized I liked the positive input. And the audience. From then on, I was just drawing all the time. I was not into comics then, just happened to be something I copied.
MFD: Do you have any formal art training?
KEN: Some art classes in college. As a high schooler in Phoenix, I really wanted to do comic book art. I graduated when I was still 17, and moved immediately to upstate New York (Jamestown, about 70 miles southeast of Buffalo) and took a summer cartooning class at the university in Buffalo. Two notable strip cartoonists were instructors - Brad Anderson (Marmaduke) and Bill Rechin (Crock). While I liked gag cartooning, my heart was still in the comic books. That same summer, on a weekend trip to New York City, I met some of the true giants at DC: Julius Schwartz, Sergio Aragones, Denny O'Neil...and Joe Kubert. Joe was in his second year of operating the Joe Kubert School. He invited me to the school to look it over and interview. I was ultimately accepted for admission, but couldn't come up with the money for it...something like $6,000 per year. Sounds like a bargain now! As a new school, they weren't yet accredited and no financial aid was available. Moving back to Phoenix, I attended another gag cartooning class with legendary cartoonist and humor editor of Esquire magazine Irv Philips (Strange World of Mr. Mum) and local author and artist Loyd Littlepage. Studied with them for 2 years. This launched me on a part-time career as a panel and gag cartoonist for many years, selling work to magazines, newspapers and trade publications. I have always worked as a commercial artist/graphic designer as my "day job."
MFD: Who do you list as your artistic influences?
KEN: Despite the Kamandi run of comics, I never really liked Jack Kirby's style...but sure wish I could draw that well - - and that fast! John Byrne was excellent in his day as artist AND writer. Neal Adams, of course, beats everyone. I have a college-age daughter majoring in art who has just recently discovered the wonder of Neal Adams' art. I am just now experiencing my own child-like wonder in the discovery of many of the old masters like Milt Caniff and Alex Raymond. My all-time favorite is Gil Kane. In my opinion, one of the most talented cartoonists of this generation is Bill Watterson (Calvin and Hobbes). It goes on and on...and I wouldn't say "influence" as much as "admire".
MFD: Could you talk about what you're doing at Surprising Comics?
KEN: So far, I wrote and drew an American Guard story (and cover) for Surprising Theater #5. I am currently working on the cover for All Surprising Comics #1 with colorist Jason Griffin. Jason is a brilliant colorist and brings my work to life in a way I never thought possible! I am also doing artwork for the feature story "Depthon of the Deep!" written by Steve Skeates, who wrote Aquaman for DC comics for many years. Having Steve as an ongoing scribe gives real "street cred" to your mission statement: "the new comic book universe with a Silver Age feel." I try to maintain that silver-age feel in my covers. The American Guard cover (Surprising Theater #5) is modeled after Gil Kane's iconic Captain Action comics. The All Surprising Depthon cover is based on a very well-known Jim Steranko Hulk image from the 1960's. (Google these, you'll see what I mean).
MFD: Do you have any words for aspiring artists?
KEN: Take real art classes. Learn the basics. You can't learn anatomy from comic books! Draw. Draw. Draw! One of the great bits of advice I read years ago was "learn to draw EVERYTHING. It's not enough to draw Superman. You have to be able to draw him in clothing as Clark Kent. You have to be able to draw the bus he rides to work, the sofa he sits on and the girl he married. Don't look only to comics for inspiration. Go to the art museum. Look at advertising imagery. Learn everything you can!
Hook up with other artists for mutual support and constructive criticism.
MFD: Do you read any of the new comic books being published today?
KEN: Stopped reading new Marvel comics about four years ago when the disappointing "House of M" was followed by the even more disappointing "Civil War" story arcs. Been reading the "New 52" stuff from DC. Not terribly impressed with the stories, but some of these new artists are fantastic! AND...Marvel/Disney is doing a wonderful job with their comic-based movies, which happily brings new fans into the comic marketplace.
MFD: Do you have any plans to do more comic book writing?
KEN: Trick question?
MFD: Print vs. digital. Your thoughts.
KEN: I worked for a long time in the newspaper industry. Newspapers are a dying breed because of the internet, so newspapers had to BECOME internet based to survive. Comic fans must understand that comics are a business. Without a profit motive, there are no comics. So, comic publishers must embrace the new technologies to remain profitable and competitive. I prefer to think in terms of Print PLUS Digital, not Print VS. Digital. I know print runs are shrinking; however, I don't believe printed comics are going away in the short term, because that's the COLLECTIBLE part of the hobby. I think, instead, we may begin to see a divide in the comic consumer markets along the lines of "reader market" (digital) and "collector market" (print).
MFD: Do you have any plans to submit work to other publishers?
KEN: My contract is exclusive.
MFD: Is there anything you'd like to talk about I haven't brought up?
KEN: This new venue (Surprising comics) offers a great opportunity for new creators (and old) to showcase their talents and abilities...thanks for asking me to participate, Mark!
MFD: Ken, Thank you for the interview!
KEN: Thank you, Mark.
Discovery Ken Johnston's books here:
www.drivethrucomics.com/product/129546/Surprising-Theater-5
KEN: I began this journey as a young comic collector about 1972. Sounds mundane, but it was summer and I was a bored 8th grader looking for a hobby or something to do. I have 5 brothers and we always had a bunch of comic books lying around, so I decided I would round up whatever I could find, catalog them and call it a collection. In that pile was Kamandi #1 (Jack Kirby, DC), which I collected for its entire run. I was then going into high school, I had to collect in secret since comic collecting was not as cool back then and I knew NO other collectors. You could seriously get beat up, or worse - - laughed at! Most of my comics in those days were purchased at a Rexall drugstore in Phoenix from a spinner rack, and I could buy just about everything DC and Marvel put out with school lunch money (25¢ per day). I was pretty skinny as a kid.
MFD: When did you get serious about art?
Started drawing as a youngster...copied a lot of stuff. About 1st or 2nd grade, I remember copying a Batman image from some sort of puzzle game we had and adults reacted favorably. I realized I liked the positive input. And the audience. From then on, I was just drawing all the time. I was not into comics then, just happened to be something I copied.
MFD: Do you have any formal art training?
KEN: Some art classes in college. As a high schooler in Phoenix, I really wanted to do comic book art. I graduated when I was still 17, and moved immediately to upstate New York (Jamestown, about 70 miles southeast of Buffalo) and took a summer cartooning class at the university in Buffalo. Two notable strip cartoonists were instructors - Brad Anderson (Marmaduke) and Bill Rechin (Crock). While I liked gag cartooning, my heart was still in the comic books. That same summer, on a weekend trip to New York City, I met some of the true giants at DC: Julius Schwartz, Sergio Aragones, Denny O'Neil...and Joe Kubert. Joe was in his second year of operating the Joe Kubert School. He invited me to the school to look it over and interview. I was ultimately accepted for admission, but couldn't come up with the money for it...something like $6,000 per year. Sounds like a bargain now! As a new school, they weren't yet accredited and no financial aid was available. Moving back to Phoenix, I attended another gag cartooning class with legendary cartoonist and humor editor of Esquire magazine Irv Philips (Strange World of Mr. Mum) and local author and artist Loyd Littlepage. Studied with them for 2 years. This launched me on a part-time career as a panel and gag cartoonist for many years, selling work to magazines, newspapers and trade publications. I have always worked as a commercial artist/graphic designer as my "day job."
MFD: Who do you list as your artistic influences?
KEN: Despite the Kamandi run of comics, I never really liked Jack Kirby's style...but sure wish I could draw that well - - and that fast! John Byrne was excellent in his day as artist AND writer. Neal Adams, of course, beats everyone. I have a college-age daughter majoring in art who has just recently discovered the wonder of Neal Adams' art. I am just now experiencing my own child-like wonder in the discovery of many of the old masters like Milt Caniff and Alex Raymond. My all-time favorite is Gil Kane. In my opinion, one of the most talented cartoonists of this generation is Bill Watterson (Calvin and Hobbes). It goes on and on...and I wouldn't say "influence" as much as "admire".
MFD: Could you talk about what you're doing at Surprising Comics?
KEN: So far, I wrote and drew an American Guard story (and cover) for Surprising Theater #5. I am currently working on the cover for All Surprising Comics #1 with colorist Jason Griffin. Jason is a brilliant colorist and brings my work to life in a way I never thought possible! I am also doing artwork for the feature story "Depthon of the Deep!" written by Steve Skeates, who wrote Aquaman for DC comics for many years. Having Steve as an ongoing scribe gives real "street cred" to your mission statement: "the new comic book universe with a Silver Age feel." I try to maintain that silver-age feel in my covers. The American Guard cover (Surprising Theater #5) is modeled after Gil Kane's iconic Captain Action comics. The All Surprising Depthon cover is based on a very well-known Jim Steranko Hulk image from the 1960's. (Google these, you'll see what I mean).
MFD: Do you have any words for aspiring artists?
KEN: Take real art classes. Learn the basics. You can't learn anatomy from comic books! Draw. Draw. Draw! One of the great bits of advice I read years ago was "learn to draw EVERYTHING. It's not enough to draw Superman. You have to be able to draw him in clothing as Clark Kent. You have to be able to draw the bus he rides to work, the sofa he sits on and the girl he married. Don't look only to comics for inspiration. Go to the art museum. Look at advertising imagery. Learn everything you can!
Hook up with other artists for mutual support and constructive criticism.
MFD: Do you read any of the new comic books being published today?
KEN: Stopped reading new Marvel comics about four years ago when the disappointing "House of M" was followed by the even more disappointing "Civil War" story arcs. Been reading the "New 52" stuff from DC. Not terribly impressed with the stories, but some of these new artists are fantastic! AND...Marvel/Disney is doing a wonderful job with their comic-based movies, which happily brings new fans into the comic marketplace.
MFD: Do you have any plans to do more comic book writing?
KEN: Trick question?
MFD: Print vs. digital. Your thoughts.
KEN: I worked for a long time in the newspaper industry. Newspapers are a dying breed because of the internet, so newspapers had to BECOME internet based to survive. Comic fans must understand that comics are a business. Without a profit motive, there are no comics. So, comic publishers must embrace the new technologies to remain profitable and competitive. I prefer to think in terms of Print PLUS Digital, not Print VS. Digital. I know print runs are shrinking; however, I don't believe printed comics are going away in the short term, because that's the COLLECTIBLE part of the hobby. I think, instead, we may begin to see a divide in the comic consumer markets along the lines of "reader market" (digital) and "collector market" (print).
MFD: Do you have any plans to submit work to other publishers?
KEN: My contract is exclusive.
MFD: Is there anything you'd like to talk about I haven't brought up?
KEN: This new venue (Surprising comics) offers a great opportunity for new creators (and old) to showcase their talents and abilities...thanks for asking me to participate, Mark!
MFD: Ken, Thank you for the interview!
KEN: Thank you, Mark.
Discovery Ken Johnston's books here:
www.drivethrucomics.com/product/129546/Surprising-Theater-5
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