Can't Knock The Hustle: the LeSean Thomas Interview
by Antonio Solinas

 

     Hi LeSean. Your work has not been published yet in Italy. Do you want to introduce yourself to your Italian fans?

     Sure man, I’m 29, and am currently residing in Los Angeles, Ca. My background in art started in Flash animation online.  During the dot-com boom in 1999, I helped pioneer the flash animation industry by creating the visual look for an online web series called Whirlgirl (http://www.whirlgirl.com), the first-ever mainstream web series.  I later went on to create and direct my own flash-animated webseries called Battleseed for a company called Urban Box Office Network.
     I went on to work for various animation studios on popular TV shows such as Lizzie McGuire, Kim Possible, Teen Titans, Alias: Animated Video Special and various works for MTV’s Commercial division.
     I later jumped into the comic book industry, where I’ve made some waves at the late Dream Wave Productions (Transformers, Dark Minds and War Lands) on a comic series called Arkanium and then the highly popular, sold-out Teenage Mutant Ninja Turtles: Animated. I’ve just released my first issue of my creator-owned fantasy adventure series called Cannon Busters.

     You are a self-taught artist. Did you ever feel penalized by this? What are the pros of being self-taught, according to you?

     I think, early on, yes, I felt penalized. I was too poor to get into an art school so I kinda learned from stealing library books and listening to people much more skilled than myself and those I was fortunate enough of to sponge from.  Before I seriously considered drawing for a living, my ideas about success at the time, as a kid, were very narrow-minded.
     I was living in the projects in the South Bronx. There was zero encouragement from peers to make a living actually drawing. As a young teen, I felt a little illegitimate compared to the 4-year graduate cartoonists and illustrators I knew of because I was under the impression that you needed a diploma to be good at anything. So as an aspiring student and self-learning artist hoping to get into an art-school, I’ve always down-played my skills and abilities because I always felt like I’d never be as good the longer I stayed away from attending art school, so I just worked as hard as I could, thinking that I’d someday be able to afford or have a strong enough portfolio to get accepted into an art school, hahaha.  Little did I know my self-training methods were so intense I began to surpass kids I knew who were still in school at the time, lol. I guess they only studied art when they were in school.
     By the time I landed my first gig at 20 years old as an assistant designer at a children’s accessories company for Walt Disney, I had already accomplished a feat that kids my age where still in school for.  But it wasn’t until when I later got hired by Showtime as character design and storyboard artist  their flash-animated series WhirlGirl at 21, that I got a wake-up call into what I had accomplished, because even at that time I still had it in my head to attend school for what I was doing to get “formal” training, lol. It was WhirlGirl series animation consultant Buzz Potamkin, the producer of the pilot for Cow and Chicken, that replied “ Why would you go back to school? You’re doing what the kids are in school learning to do now!” I realized where I was.
     I still feel like there’s a certain level of politics that goes along with having a BA in illustration or animation. When you’re better than the guy who gets in cause he’s got a degree, it does bother you a bit.  That’s not ALWAYS the case, but I’ve been turned down for jobs many times because of politics. It’s a harsh lesson to learn. But it’s a double –edged sword. I know a lotta “ illustration graduates” who are working at a health-food store doing nothing right now. lol.
     I think the pros and cons are quite simple. It’s what you make it. There are kids who go to school for 4 years and come back with nothing. They haven’t learned much. They can’t land a gig, they can’t even perform well. School broadens your horizons. It doesn’t teach you how to keep a job. Or meet a 5-scene animation quota per week or even enhance you as an artist. It’s what you make of it. Some use it to their advantage and some take it for granted.
     There’s a lot to be said about attitude and determination and discipline. At the same time, not having a degree or diploma can cramp your style too in regards to politics. But with art I think it’s a bit subjective. I think your portfolio speaks for yourself, regardless of your degrees. This doesn’t at all encourage people to drop out of school. I’m just saying it’s a double-edged sword.

     When did you decide that you wanted to be a comic artist?

     I was 18 when I decided. I was always the type of kid who chased ass in high school. Haha! To me, it was all about dressing fly, wearing name-brand stuff, having sex with girls, lol. I was a teenager for sure. Comics wasn’t cool amongst the ladies, and I was all about getting laid, lol, so I had to show and prove, haha. I think when I was done with high school, and didn’t know what I was going to do with my life that I decided that I knew I could draw well, but was doing nothing with it.
     I tried getting a gig in comic books and began pursuing that seriously with the lure of the early 90’s comic book boom. I left the chicks alone and got focused. But competition was fierce so I kinda got discouraged and jumped into animation.

     You posted your artwork on many boards before your breakthrough and did a lot of work for Flash animation. How beneficial is the Internet for young artists and are there any potential dangers in misusing the Internet (I am referring only to the artistic side, obviously)?

    Things have definitely changed since I was a kid. When I was 14 years old and into art, there was no internet. You had to literally find people at local cons if you were lucky. Nowadays, kids can have back and forth arguments with their favorite comic artists, in the comfort of their own homes. Technology’s changed, and with that, the opportunity for people to have access to each other easily and for kids online to create their own galleries online to see. If you would have told me at 14, that we’d be trading artwork with the best of pros on a screen with the click of a button I’d have told you that you were nuts, lol.
     The internet is an invaluable tool to help fuel the art community. But with that, comes a price, lol. Everyone has opinions. The internet breeds assholes and fakes. That comes with the territory. Haha.

     Your style is very fashionable and slightly manga influenced. Are there other influences in your art, maybe less recognizable by the people that love your work?

     Thanks man, I’d say anime is a huge influence, more so than manga. I’m very inspired by animation directors, character designers and art directors in film and animation. There’s very few comics that inspire me. My influences are heavily fueled by animation.
     I’ve always believed my works would be something that would be accessible and appeal to a wide audience. I’m not much of an elitist in regards to art. I’m very influenced by high concept stuff and generally entertainment that wide audiences would respond to.
     Stylistically, my biggest influence is Kazuto Nakazawa (Samurai Champloo, Kill Bill animation) and Takeshi Koike (Animatrix: World Record, Dead Leaves, Samurai Champloo opening animation and Afro Samurai) and FLCL. Those guys are my idols.

     Talking about manga, anime and American pop sensibility, there seem to be a direct connection between hip hop and (mostly Japanese-influenced) comics. Why do you think that is?

     I’ll be honest I can’t tell you exactly what it is, but I hope I’m making sense when I say that I think in regards to style, flavor and emotion, Japanese culture and Chinese culture (martial arts) and hip hop culture, tend to go hand in hand.  There’s a certain level of energy, uniqueness and spontaneity that black culture, such as hip hop, has, that translates well and reflects similarly.
    When it comes to comic books, a lot of anime and manga portrays the same flow, energy and appeal that graffiti has. Also hip hop culture… rather, black culture in general has always showed love to the martial arts in one form or another. There’s a synergy there. It’s not surprising that a lot of hip hop-inspired comics tend to lean on the side of manga and anime in style.

     You grew up in the Bronx. How did your New York upbringing affect your artistic choices?

     SOUTH Bronx, now there’s the BIIIGG difference right there, hahaha.
     Well obviously, from looking at my work, there’s a hip hop sensibility in my works. I don’t like to be blatant about hip hop imagery in my works. I like to portrait it in the feel, not giving people doorags left and right, lol. But its obvious. I mean, I was born in 1975. I grew up when hip hop grew up. 25 years raised in the projects in the South Bronx, it was challenging. But in the Mecca of it all, the center of hip hop culture growing up I can’t replace the feeling I got when I heard Rapper’s Delight, when there was NO VIDEO available for it, hahahah. I got into comics, wanting to get work at Marvel Comics, which was also downtown with DC Comics. Both in the heart of NYC. So I had the best of both worlds. Home of Hip Hop and Marvel and DC Comics. It was definitely fun, looking back.
     I’ve grown up with friends who’ve all done graff. I’ve done it, and was even dancing for a good bit of my adolescent years, haha but I got more into the art of things. I had my “black books” in junior highs chool like everyone else, swapping art and sharing new pieces. It’s weird to see out of all the people I grew up with, I’m the only one who managed to make a successful career out of it. Maybe I’m more of a nerd than they are, lol. But I was hungry. It translates into my art. The people, the city just played a huge part on my growth, looking back.
     I can’t imagine growing up in a small town. I was destined to be a city kid. My artwork is a reflection of that I think with the personality and energy I bring to my work.

     You were involved with DreamWave, and did a fair share of work for them before they folded. Did you ever have any problem with the company?

     Not any real problems. They are a young company, there’s going to be hiccups along the way. In retrospect, I’ve never had any real issues with them. I’m grateful that Pat Lee has given me a career, albeit short, in comics. You wouldn’t be interviewing me if not for Dreamwave, haha.

     What do you think of the current situation of the American market? A lot of the nostalgia-for-the-eighties inspired titles are struggling, now. In which direction do you think the market will go?

     Concerning the market, I honestly have no clue, lol. It’s such a tossed coin these days. Honestly I’m not as up on the comics market as I’d like to be. But then, my knowledge of the business is limited by my involvement in it. I don’t self publish. I pitch to publishers. I draw the comic. I do know that the industry sucks, lucratively, lol. I mean in regards to anything outside the big 2. I do comics because I love the medium, not because I actually have to, or so that I can label myself as a “comic book illustrator.” To me, it’s so much more than that. I have a passion for sequential art, and doing the type of stuff that I enjoy. And I’ll try my best to exploit that in comics, film or animation.
It’s really that simple.
     In regards to the 80’s stuff. It’s like anything, it’s got its time. Comics fans tend to give publishers slack for licensing. I say, more power to the people who can eat off that. It isn’t all good, but you gotta find a hustle. Shit, look at Dreamwave. They ate for damn-near 4 years off of Transformers. It was really good for the industry at one point. They’ll do it as long as there’s money in it. Devils Due is still pumping GI-Joe and that seems to be doing well for them. I wish them luck, since GI-Joe seems to be their strongest-selling title. I think they can do a good job. They’ve handled it so well thus far.

     You worked on the TMNT comic. Are there any other comic icons you would like to tackle?

     Not really. The idea doesn’t really gel with me at the moment.  I’ve been spoiled with creating my own stuff. Mind you, I say that because I know that there isn’t a licensed icon I could tackle where the client would allow me to be “me.” I would have to conform myself to fit their vision. I can be ME when I’m doing my own work. The closest I’ve gotten to portray anyone else’s ideas with my talent is Arkanium, my first work with the late Dreamwave Productions. That project was owned by Pat Lee but I had full creative control. I don’t do well watering myself down for someone else’s pleasure. I’m sure others don’t either, but that’s what we have to do sometimes to keep the lights on. But obviously that won’t get the best work out of me. Even with the Boondocks animated series, the designs are more or less based off of my style, not someone else’s. I got the Boondocks gig because creator Aaron McGruder was really feeling the art in Cannon Busters, which was MY work, not something I did on a licensed property.

     You have done both self published and work-for-hire jobs. Did you see self-publishing only as a way to break into the market, or do you see yourself going back to the indie market when the occasion arises?

     It’s all a tossed coin. I’d like to continue doing my own works. And while I’m in the position to say so, I want to ONLY do my stuff. Of course anything can happen and that changes.
     Also, to be clear, I’ve never self-published anything. I’ve always gone through publishers, trying to convince them that my work is worth their dollars to spend on publishing at their expense, ha ha. I do think self-publishing is a worthy venture if it’s done right. I have friends self-publishing and they seem to be doing ok. Mike and Mark Davis, creators of the Blokhedz comic book. But also they seem to be profiting off of their toy line more so. But that’s all part of proof of concept maneuvers. They are producing other means of revenue for their brand outside of comics, ie; vinyl toys, to support the property. It’s a smart move. I don’t know if it can work for everyone. Having a good publicist helps spread the word.
     As for me, I’m IN the indie market now with my Graphic novel, Cannon Busters. So I’m living proof. We’ll see how it turns out.

      You are very well versed in the art of animation. Do you want to talk about that? What are the different challenges presented by comics and animation?

     Having worked in both, the allure of comic books… creator-owned comic books is the do-it-yourself job that comes with comics. The same could be said for animation, but you’d probably need about a few hundred thousand dollars to produce an animated pilot. To produce a pitch for a comic series is less than a fraction of that, and you get more control, if not all, depending how you go about it.
     Like comics, the animation process involves a team. But that team is vast. With comics, you can serve as our own, background designer, layout artist, director, character designer, storyboard artist etc. with animation, those jobs are almost always split amongst the team. One person per title, who all bring various levels of experience to the project and all may not have worked on what you like.
     In comics, the only possible sacrifice in quality control is related only to the inker and colorist (if we’re talking creator owned). And nowadays, creators are inking their own work or excluding the inks and going straight to color completely (like myself on Cannon Busters).
     Creatively, there’s a vast difference. There’s a lot of people to work with and it’s hard to end up with the same vision you have in your head at the beginning till it hits the screen.
     Also, comics are a poor medium, fiscally. There’s more money, notoriety, pay rate increases in animation than there is in comics.
That alone can lure someone into animation if they have a shot at it.

      Do you want to talk a bit about the Artxilla collective?

     Sure. Well, it all started off with superstar comic artist, Ed McGuinness’ (Batman/Superman) idea, which he and Sanford Greene (Army of Darkness/The Ride) had apparently been concocting for a couple years if I’m correct. In any case, Sanford and I had mutual business collaborators at the time and established a cool relationship over the phone. Keron Grant (Son of Vulcan/MangaVerse Fantastic Four) and Ed as well. I originally wanted to do something similar, and Sanford had put me on to what he, Ed and Keron had talked about starting a studio of sorts. They asked if I could be down and I jumped on the idea. At that point we started tossing name ideas around.
     We were all at the '03 Wizard World Chicago, and it was like a bolt of lightning. We decided. ‘Why not do something cool like a micro-studio and website, and see what we can do with it?’ At first, it wasn't a grand scheme, but over time, as different companies saw what we can do and our fan base, they want us to contribute work like toys or animation. Artxilla.com is more than just advertising for us, it's a place where young artists can get a little advice, from us and each other. If we just inspire or help one person accomplish their own dream, it was all worth while. It's also nice to have a support system of buddies. By keeping things small, we've also kept it lots of fun.
     The vision is to help diversify the game by introducing new ideas for the new readers and trying to cover more bases than just comics. A mission to provide a diverse community and another outlet for up comers wanting to break into comics also, a place for people who want to peek into the creative process and get it directly from pros, provided by critiques and getting them more pro-active.

     You said in an interview that you don’t read comics. Is that 100% true? Is there any comic you read regularly at all?

     I really don’t read comics much for the story. Well not as often as you’re supposed to being that it’s visuals AND story, haha. It isn’t a personal issue about story quality. I’m just one of “those” guys who buy the work for the art. Comics is a visual medium. It’s what inspires me most. I do enjoy naruto manga though, whenever time permits.

      How much do you know about the European comic scene? What about Italy?

     I just know Claire Wendling, hahah. I’m sure there’s others in the art frame, like Pink Planet and Sky Doll that I also have that’s just phenomenal. I’ve been a bit more exposed to a lot of Japanese animation art directors and deisngers like Kazuto Nakazawa, Takeshi Koike, Yoshiyuki Sadamoto, Range Maruta, Mahiro Maeda, Otomo, Koji Morimoto and many others. I’m heavily influenced by Japanese artists, but Claire Wendling has thrown me for a spell more recently. She’s probably the most prolific illustrator I’ve ever seen in recent memory.

     What are your current projects?

      Supervising Character Designer/Assistant Director for Aaron McGruder’s The Boondocks animated series airing this fall on cartoon Network’s “Adult Swim”. It’s seriously going to change the game and will be my biggest work this year. A HIGLY CONTROVERSIAL show. You’ll know about it before the year’s out. Trust me.
     I’ve been doing a LOT in television as of late. So much so, I’ve had little time to do my own stuff, lol. But I’d have to say my reasons are good reasons, lol. Being this deep in the animation game, it opens a lot of other opportunities for me to get my projects green-lit for animated shows. Which hell or high water, will happen. I’ve carved myself into comics by myself, I think I’m confident in my talents and discipline and determination to get my own show animated as a series.
     And of course, Cannon Busters the comic book, which is currently being compiled as a graphic novel volume for later release.

      A bit ago, you were listening to J-Live, Jay-Z and Jaylib. What are you bumping on your stereo now (I am a big hip hop fan myself)?

     Nowadays, I’ve been burning Common’s Be album, one of the more thorough hip hop albums as of late this year that I’ve heard. De La’s The Grind Date is an instant classic to me, Little Brother (Chittlin’ Circuit 1.5) , Rapper Big Pooh’s The Sleeper is an outstanding album, The Foreign Exchange: Connected, a surprise hit in my book, MF Grim’s 11 Special Herbs and Spices is a surprise banger as well (although Doom STAY recycling beats, lol). I was disappointed with Doom’s MM… Food (hard to outdo Doomsday).
     I think the underground scene is slowly picking up tho. It’s been garbage to me the past couple years…that’s not saying anything exciting been poppin’ in mainstream either, lol. I been messin’ wit instrumentals and mix-CD’s lately. Very few albums I’ve actually purchased.

     The last question is the trademark Comics Code question. If you had to choose three very good books that were never meant to leave your shelf, which ones would they be?

      Only one. The Invisible Man, by Ralph Ellison.

      But, since you are a big hip hop fan, what are the three records that a real hip hop fan should have in his record collection?

     Awww man, that’s a harsh question. lol. which year? Haha! I’d say 88-95 era, prolly ‘The Purple Tape’: Raekwon’s Only Built For Cuban Linx, Nas Illmatic and Public Enemy, It Takes a Nation of Millions to Hold Us Back. Obviously, there’s tons more that I’ll prolly get stoned for, but these are from an NYC perspective, also, these are biased selections, me being an east-coast head. There’s a lotta classic albums from other states. But, I think the best hip hop music is from home… NYC.