Artwork is one of the most important elements of any graphic novel or comic book. Being a visual medium the art is literally the story, the text adding more nuance while finishing the tale. So having an understanding of how such art is made let alone more about the artist themself can be of a great benefit to anyone venturing into this field of storytelling. To that end in this interview we’ve able to pick the brain of Matt Wendt, artist for Sons of Ashgard: Ill Met in Elmgard, to learn more about sequential art.

What initially led you to cartooning and sequential art?

I watched a lot of cartoons growing up…that led to a love of comic strips like Peanuts and Garfield and eventually I discovered comic books.

What do you like about it? Anything that still challenges you with it?

The creation process and telling stories. From conceptualizing characters to crafting stories for those characters to exist to the universe in which they exist, I tend to get most jazzed about creating.

The biggest challenge is having a backlog of stories and ideas planned out, either written out on paper or in my own head, but never having enough time to work on them. It can be daunting and frustrating. If I could only clone myself and tap into Speed Force powers…

Comics and sequential art can be a challenge for many artists to get into initially. Any advice you can share with others seeking to get into the field?

So much has changed in the decades since I was an eager young aspiring comic artist that I’m not sure how one breaks into the industry anymore. One thing that is important and hasn’t changed is to just draw and create. I started building my comic creation skills by just making comic books on typing paper to share with my friends. That eventually led to meeting professional artists, getting my work critiqued, and applying the suggestions the artists gave me and coming back again and again…A little better each time and with less critiques.

Another bit of advice I would put out there is to seek out seasoned and professional artists to learn from. Build a portfolio of samples of your work and go to portfolio reviews and/or and be open to constructive criticism.

When you work on a project what’s the general process you tend to go through to create the art?

If I have a script, I immediately read through it and start breaking it down in thumbnail page sketches. Once approvals are met, I move on to the pencilling stage, and once approvals are made on those, then it’s off to the inking/finishing.

I try to stick to deadlines but also try to keep them realistic. If I feel that I might not make a deadline, I make sure to communicate that to the writer/publisher and to offer up a plan to adjust and move forward.

Headphones, good music or podcasts and caffeinated beverages are often integral to keeping me on task and soldiering through the long hours on a project. Also, the occasional action figure battle break from the various plastic characters that surround my art desk.

You’ve experienced both drawing traditionally and digitally. What is your take away from the process?

I’m still learning digital but I can say that it definitely saves time and erasers. What I’m able to do with the assortment of tools in the digital art programs makes things more efficient for me. I feel that as I continue to draw digitally, my processes are bound to streamline significantly, however, there is still something more creatively connected and natural to working traditionally. Maybe working digital will eventually feel like that for me too someday.

How is it different working with a publisher/creator on their project versus working on your own titles/work?

Working on someone else’s project can be fun and creative but ultimately is doing art as a contract job. An artist should never lose sight of their role as a hired contractor and do their best to communicate with the publisher/writer/creator to set goals and deadlines to help push the project forward. Life happens and delays and setbacks are an unfortunate part of the gig (especially if one has other employment responsibilities) but proper communication is key to understanding and solutions.

Working on personal projects is so rewarding and exciting and there’s simply nothing quite like being able to put one’s own ideas and creations out into the world and have people enjoy it. However, one can be bogged down and discouraged by all the non-creative/art parts of comic projects. For me those parts of the process feel like being forced to be in double slow motion while my mind is creatively in hyper-space. It’s all necessary steps but if that part of the process was even a fraction of as fast as my creative ideas, I’d have volumes and volumes of work out there.

For those looking to reach out to artists for work, what are some things they can do to better their chances of bringing an artist on board and some things that can make the process for the artist more productive (and enjoyable) on their end?

Come up with a story/project pitch:
The pitch should be informative but not long-winded. Explain how you feel the artist’s work and creative flavor would specifically complement the project. Don’t be pushy but give the artist opportunities to ask questions and to learn about the project.

Offer Compensation:
One of those questions the artist might ask will most likely be about pay. A good way to show the artist respect and that you value their work is to offer compensation for it. It also shows them that you really believe in your project if you’re willing to invest money into it. Don’t be one of those guys that can only offer an artist “exposure bucks.”

-Once you’ve established a working relationship-

Communication and collaboration is important:
Come up with goals, timelines, and make expectations clear. Offer up feedback in a timely manner.

Be willing to be flexible:
Things/life/circumstances might come up that could potentially affect the goals or deadlines. Be able to redirect or pivot where necessary and collaborate to come up with solutions also if necessary.

How can those looking to find an artist to work with find one? And what’s the best way to approach them once they’ve been found?

I will always promote meeting artists at comic conventions. I feel the face-to-face interaction is the best method as it’s the most genuine. Their work is right in front of you and so are they so you can match a face to work and potentially open up avenues for communication. Some artists promote their work through social media and websites and often have the ways to reach out to them listed on business cards or hand outs. Sometimes you can just exchange contact info with them.

Never assume the artist is free or open to doing freelance/contract work. Maybe they have other projects in the works or a back log of them. Some artists simply don’t like working on other people’s projects. If a particular artist just isn’t available to work on your project don’t lose hope…there are other artists and you may discover one that’s a better fit for your project.

Thanks for the time and info, Matt!