Artists and writers need comfortable spaces to inspire their creativity and provide adequate space for the process. In his new book, Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers, curator Joel Meadows explores the creative spaces for several comic industry artists. Not only did they provide a glimpse at their studios, they talked to Meadows about factors like research materials, size of their workspace, and other environmental elements. With the book scheduled for release soon, Scoop caught up with Meadows to talk about his inspiration for the book, the importance of studios, and what he learned from the artists he interviewed.
Scoop: How did you come up with the idea for this book?
Joel Meadows (JM): Back in 2008, Image published Studio Space, a book which also looked at comic artists and their studios. It featured [Walter] Simonson and [Sean] Phillips, who are in this book. I co-wrote it with the assistance of Gary Marshall and Andrew Colman and I enjoyed the process, so I wanted to do another one. It has taken 11 years to bring it to fruition.
Scoop: Why do you think the studios are so important to the creative process?
JM: Artist studios are interesting because they both influence the artist who is working in that space, but they also reflect their personality. For an artist to do their best work, they need to be in a space which inspires them.
Scoop: As you were writing questions for the interview subjects, which questions piqued your interest the most?
JM: The question of whether they work digitally or physically, and some artists still work physically, is one that is still a significant question to ask. Even in 2019, many artists don’t feel they can achieve the same results on a computer that they can with a pen or a brush.
Scoop: What elements of their work spaces did they talk about?
JM: The artists discussed their working days and what was in their studios and also sometimes how things like their drawing boards were set up and whether their studio was in their house or away from their home.
Scoop: You asked them how they create covers and interior pages, how did their answers correlate with their working environments?
JM: Some artists had a specific part of their studio which they used to create things like covers compared with interior pages. William Simpson, when I went to visit him, had two different studios next to each other. Some artists liked to use a more open space when creating covers rather than interior pages.
Scoop: What surprises did you find after seeing the artists’ studios?
JM: Frank Quitely has a tiny studio that he shares with two other artists and it was a surprise that he was still able to create his magnificent work in such a small space. Conversely, Mike Kaluta had his studio in his flat and that was a treasure trove of all kinds of objects like bits of old planes and vintage auction catalogues.
Scoop: What kind of tips or suggestions did they give for establishing a space for creativity and productivity?
JM: Every artist works differently, and the bottom line is that it’s about establishing a space that you found yourself most comfortable in while working. Many of these artists have worked professionally for decades and their spaces have evolved organically.
Scoop: How did your perspective change after interviewing the artists and writers on their studio spaces?
JM: Some of the artists I knew pretty well before the book like Walter Simonson and others I didn’t know at all. The process of conducting the interviews reinforced my belief that an artist’s studio space is one of the most important reflections of them as creative figures. I am actually considering trying my hand at a third studio process book but it is very early days.
