I've spent 20 years writing commentary and reading comics for reviews. And for the cost, and for the experience, comics seemed to have lost their impact for me. But the comic Sonata, The Marked and Jules Verne's Lighthouse renewed a spark in me, and I find comics in general more exciting as a result. A major partner of the creator team of three comics referred to, Brian Haberlin, has a style of story telling that is clear, and exciting. His line work is amazing. I am happy to present an interview with Brian.
How did you find out you would be an artist, what training did you have, and how much talent does it take, versus skills being trained into expertise? Was being an artist your first choice of a career?
BRIAN HABERLIN: I was always the kid drawing in class and the kid that other kids and teachers asked to draw things for them in grade school. But it wasn’t until high school that a friend did a painting of our roleplaying game characters and then I did one as well and he told me I sucked. Then instead of taking lunch I’d be in study room with anatomy books and draw hands hands hands…next feet feet feet…then torsos torsos torsos…and on and on.
In two weeks I was better than my friend and in 3 weeks he quit drawing and painting (not really proud of that, but was satisfying at the time). It taught me the absolute necessity of practice...it’s like working out with weights for an athlete. I had my first paying gigs as an artist at 18, pretty much all self taught. And went to film school for writing. Though I will credit Rodger Hubbard, a seasoned illustrator that I took a few classes from at university who could answer all my…”how’d they do that? Questions”. I like to think of myself as more of a writer/artist…as I was only really interested in art that told a story…one of the things that led me to sequential art.
Can art be used to depict entertainment in any genre, are there subjects and matters of history that can't be addressed? I heard someone say that From Hell exploited the deaths of the victims of Jack the Ripper. While I thought they were full of shit, the audience might be offended. Are there questions too disturbing to find expression in art? If so, what are some? Artist Jackson Pollack said his art was about ideas, and we are in a cultural times where ideas and art have venues, but anti intellectualism seems to have had a hold.
BRIAN HABERLIN: Hey, if you’re not offending someone to some degree you’re not doing it right. 😊 But seriously you can’t worry about that. The important thing is telling stories you want to tell and to hell with the ramifications.
Emmert Wolf said “A man is only as good as his tools." I don't know him outside of the quote, but, is it becoming easier to depict what artists depict, due to the modern tools, computers, digital transfer and even communication, or is it really the case that a creative artist will have a talent that finds a way to come through, whatever limits and barriers exist? Would Jack Kirby be wired up now, getting even more pages out?
BRIAN HABERLIN: That comment is wrong…the tool is only as good as those who wield it. Pros, that I won’t mention, were upset when I started doing my tutorials years ago. With them saying “you’re giving away the secrets.” Bullshit. I’m showing how to use a tool…what can be done with the tool is up the artist.
I am a fan of your collective work with the lovely and talented writer (as well as artist) David Hine. Is working with another creative mind more fulfilling, as it came from a greater effort to both do the work but conform to the ideas and talents of another creative person? Or would you say all forms of creative endeavor fulfill, whether with another or others, or by yourself?
BRIAN HABERLIN: I like doing both. It is certainly easier to have another creator…if you mesh well. David and I often add to each other creatively, and that’s what you want. But somethings need the clarity of vision you only get as a solo act. But the story and the medium are what help to decide that.
You have a new series ongoing, HELLCOP and in it you seem to have chosen a story, characters and ideas to consider that fit perfectly your art style. How long have you had the idea brewing, where do you see it going, and do you have plans for other media regarding it?
BRIAN HABERLIN: Hellcop came into my mind in 1996 and was in a one shot anthology we did at TopCow. Then later Hellcop was a miniseries when I launched Avalon Comics with Whilce Portacio. But I only got to go over the book as my time was taken up too much with running the company and writing Stone and going over all the books with touch ups. So I didn’t get to work on my baby.
And over the years there are more drawings of Virgil (our Hellcop protagonist) in my sketch books … and starts of stories… Finally the time was right to scratch that itch. Will it be in other media…who can say?
Thank you Brian, where can readers/fans/curious people find you online?
BRIAN HABERLIN:
On Instagram: @brianhaberlinofficial
And my websites are:
Haberlin.com
Digitalarttutorials.com
Experienceanomaly.com
Traditionaltutorials.com
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