Elegance in Simplicity: Interview to Andrew Robinson
by Antonio Solinas

 

     Hi Andrew, not much of your work has been published in Italy. Do you want to introduce yourself to your Italian readers?

     I’m a farm boy from Florida. I’ve been drawing all my life. And I’ve been blessed to have a career in comics for ten years.

     When did you first get involved with comics? What are your influences?

     My first comic work was through Dark Horse Comics Presents working on a short story called the Chairman way back in 1994. My influences range from Gustav Klimt to Sergio Leone to Moebius. I’m really into Alex Toth, Mignola, Walt Simonson, Jaime Hewlett, Sergio Toppi, Kevin Nowlan, Adam Hughes and Daniel Clowes.

     When I first saw your Dusty Star, I could feel a pronounced influence by Hewlett and Bond, influence that has almost disappeared in your last works. Which direction do you think your style is taking?

     I hope that I’m maturing into my own style.

     You have worked with both DC and Marvel. What are the differences between the two publishers? What the pros and cons of the Big Two?

    They are about the same to me. It all comes down to the editors. Some like me, some don’t.

     You also worked with other publishers in the US. Which differences did you find in working for the “alternative” market, as opposed to the mainstream?

     Usually there is more freedom with the smaller publishers. The independent guys are more open to let the artist spread his wings and fly. This may not always make the big bucks but helps take comics to the next level.

     What are the aspects that you think are most important in graphic storytelling?

     Composition, perspective, figure drawing and good use of lights and darks should all complement the story. Telling a good story is top priority, not just drawing pretty pictures.

     You recently did the covers for Hawkman, adopting a painted style that received a lot of praise. What differences do you find in the approach to covers and interior artwork?

     A good cover requires one image that is pleasing to the eye and also captures the spirit of the story.

     Let’s go back to Dusty Star. I loved the story. Is there any further plan for the character?

     Yes I’m working on new material which will complete the story from 1997. It will be published by Desperado Studios.

     You are no stranger to big corporate properties, having worked for DC, Marvel and on Star Wars character. Is there any character you haven’t drawn you would like to tackle?

     I’d love to work on a well-written Batman story.

     Nowadays, even in the mainstream, there are more and more comic artists that are adopting a style like yours, elegant and very graphic, compared to, say, five years ago, when the approach was more spectacular and less subtle (very “Image”). Why do you think that is?

     Because of artists like Alex Toth, Bruce Timm and Mike Mignola we are discovering the beauty and elegance in simplicity. Less is so much more.

     Let’s talk a bit about the technical aspects. You normally do everything by yourself, pencils and inks (and colours when you paint). What is the reason for this choice?

     So I can control everything.

     Do you still read comics? Which creators or characters do you follow regularly?

     Of course. I love Clowes’ Eightball, Mignola’s Hellboy, Jay Stephens, Seth, Adrian Tomine, Frank Miller’s Sin City and everything by Paul Pope.

     What are your current projects?

     Cards and promo art for the card game VS from Upperdeck. It features characters from both DC and Marvel. And of course Dusty Star.

     We know Sergio Toppi is one of your favourite artists. Do you know anything else about the Italian comics scene?

     Not much. I need to come visit and check it out.

      The last question is the one million dollar question we always ask. What are for you the three comics that should be on the shelf of a true comic fan?

     Watchmen by Alan Moore, Walt Simonson’s Star Slammers and Batman: Year One written by Frank Miller.