Talking to Brian Haberlin about The Power of Art, Teaching and Art as entertainment

Brian Haberlin is an artist, a teacher, a writer and more. I didn't really understand his work or him until it was showcased for me in his works with David Hine. At that point, due to many factors, but quality and imaginative expression the main two, I realized, this guy is more than his work on the page.  And then getting to know him, via social media mostly, I was truly blown away. In my previous interview with him I was just asking beginner questions.

In this interview I open the door to more interesting questions. For many reasons, he has become a favorite artist of mine, and I don't know that I've added to my favorite list since 15 years back, with Paul Harmon, Alex Sheikman and Peter Bergting. I am not only grateful, but am really excited to present here my second round of questions with Brian Haberlin...

Last time I interviewed you said that you consider yourself more a writer artist, or as I'd say, using D&D terms, a multiclass character, one with talents and abilities from two distinct skill sets and roles... Do you find when doing just one more difficult than when you do both? Also, with, I don't know the process you go through, but when pitching an idea, do you leave it open for anyone else to join you, that is, if you pitch a concept, is it automatic that you are writer/artist, or is there room for others to join you in the pitch once successful?

I have a couple projects right now that I don’t wear both artist/writer hats on.  The particular project is really what dictates it. If I know someone can write that story better than myself or draw it better, then that is how I will go with it.  Regarding which is harder…I think writing. I need to be more focused to pull it off.  Art is much more natural and instinctive for me. For example, I can do art while watching a TV show or a movie but for writing I can only have silence or soundtracks with no words…just music.

People in the comics reading world have seen your work for more than 20 years. But, having read a great deal of it, you can recognize aspects of your style, but it is very much evolving all the time. I was thrilled to see your daily uploads, new watercolors, new studies, sketches, and wonder, what leads a style to evolve, instead of, perhaps, grow stale from lack of change?

There is always something to learn. I am always the guy who looks at how something is done and ask and usually try other ways to do it. To use my watercolors as an example I use a watercolor paper that is made for people to use  oils on. That allows me to have the paint more sit up on the paper and move it around. Another thing with the watercolors is I’ve started to use a wax medium to seal the surface once they are done. You apply it wait 24 hours then buff it to get a satiny finish or just leave alone to make matt…every tutorial online was the same. But I’ve played with encaustics before (wax paint) and I know that heat can be an interesting tool. So once the surface has waited its 24 hours I then run a hair dryer on high heat and it shines up the surface like varnish…which I like as my pieces more look like oils anyway and this way you don’t have to matt and glass them…gives a nicer presentation.

I found your creative work on the Last Barbarian to be damn good. It was rather better than most, in that it really felt like an adventure, it had all the various needs of a story told, technically but it had an enthusiasm about it that felt, personal? Do you find a great deal of inspiration from RPGs or the Genre of Fantasy, or was it more a coincidence that it felt so inspired?

Really was just a chance to scratch an itch to draw a fantasy book.  I did it once before with Medieval Spawn/Witchblade but this was also paying some homage to old D&D games I played and still play. I think you’ll notice the end of the story felt a bit rushed…that was because I planned for six issues but (publisher) Jim Valentino only solicited 5. So a bit crammed at the end story wise.

It did not seemed crammed to me, only that the momentum had grown to a faster pace.

I read on your website, the art of Brian Haberlin that you taught at MCAD, the Minnesota College of Art and Design. I know so many awesome people who went there and created great work. What courses did you teach there?

I have been teaching there for almost two decades. I just do one remote class a year on digital coloring. It’s all right but I’d rather teach a live class any day of the week.

In the five years or so I've been paying particular attention to your works, I think it is quite wonderful how often you give teaching points and examples of concepts for those who are social media friends and such. Is it something you do to pay it forward or is it that you want to share how the magician's trick works, so people can delve deeper in the general and specific works of art they view?

I do it because I enjoy it…as I said before, more when classes are live and in person.  I did some seminars in my studio before Covid.  Might be time to get back to that.  I also do it because there are so many poorly done tutorial sources or just plain wrong techniques taught by folks who don’t do it for a living. I’m primarily self-taught as an artist…and have been a traditional professional illustrator since I was 18 years old.  I have a masters degree in communication arts/screen writing, but with art and my career in comics I’ve been very lucky to learn from the very best, color from Joe Chiodo, inking from Scott Williams, and the whole ball of wax from Marc Silvestri, Todd McFarlane, Greg Capullo and many more. I think I have an unofficial doctorate in comic art with whom I’ve been able to learn from over the years.

What role do you see art as playing in a world as troubled as ours is now?

My goal with art is to make people experience some emotion. Joy is a good thing! On the art side I don't make art that has to be explained or understood...or is some other intellectual masterbation. Entertaining is my main goal...that can be scaring people as well. I think the more emotion you can evoke the better... I do try and stay away from making people angry though...;)

What can humans do to encourage art at the youngest level, to create more reflection and more artists, from the beginning?

I think you expose the young to it...and they'll either gravitate to it as an artist or as an appreciator of art.  Or they'll shrug and walk away. But if they aren't exposed in the first place then nothing changes.  We're a species that needs to see something can be done or is possible by another human being...then they can consider, maybe I can do that too! Or not...but if they don't get to see a Rothko or McFarlane or a Rockwell they don't consider it possible.

Thanks Brian!

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