Is Dan Cornwell The Future of Judge Dredd?

Chatting to Dan Cornwell has been a revelation. Before we got into talking about comics the talented artist who is based in the South East of England where he moved aged 14 shared a few details about himself. He started by saying he is a big fan of Manchester Utd, then quickly pointing out he was in fact born there. Apparently that is rather important. His favourite movies include titles such as Aliens, Predator, Abyss, Akira, Goodfellas, As Good As It Gets, Titanic, Casino, many war films and countless others which as he said would take an age to list I also quote directly "Hobbies include scale modelling, Warhammer 40k painting, walking, though I rarely have time to do any. And of course, comics."

Paul: Can I start by simply asking how your relationship with comics actually began. What were the first comics you recall buying and enjoying?

Dan: I think the first comic I remember is Tintin. I loved those books when I was young. I remember I didn't have many - probably just a couple - but that was more than enough to constantly pick them up and read for the hundredth time. Obviously the Beano and Dandy I remember well. I also remember getting Spider-Man, the one when he gets the black suit. Secret Wars I believe.

Paul: So did comics make you decide to become an artist, or was it the other way around? Was that desire already there and that is what made you interested in comics? It is a kind of which came first, "the chicken or the egg" question.

Dan: I think I've always drawn. It kind of runs in the family. My grandfather was an art restorer. I remember when I was very young, drawing huge war scenes with stick figures on sheets of wallpaper (spare sheets, not on the walls) and also drawing my favourite cartoon characters. As I got older, that progressed to comics from Beano, Dandy, Eagle and eventually to 2000ad. I've just always loved art, especially comics, illustration, and animation..

Paul: How did you approach getting published? Was it always 2000Ad for you?

Dan: I applied twice in the early to mid 90's with 2000AD by sending in my very raw and amateur portfolio and I  was rejected, understandably. So, yes, it was always 2000AD for me. I kind of gave up comic art for about 5 years until I realised it was all I wanted to do, when every other job just didn't fill me with joy. Not that they were bad jobs, but when you really want a certain career, anything else just seems temporary, and time you could spend doing art. I was incredibly fortunate to get published by Futurequake Press, by the late, great Dave Evans. Once that happened, it just went crazy. John Wagner saw my work and asked if I would like to draw Rom of the Reds (later became Rok), and obviously, I said yes. Within a short time, I got my break in the Prog after John recommended me to Matt Smith. So, I've actually only actively applied for comic work twice, nearly 30 years ago. The rest was fortuitous and word of mouth. It's not a normal route into published comic art by any means.

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Paul: Illustrating the Judge Dredd story The Citadel for John Wagner must have been a little daunting I would imagine. How did you approach the project? And also are John Wagner's scripts as artist friendly as the legends tend to suggest?

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Dan: Working with John is a dream. Now, he IS a legend. It is not something I could have ever imagined. Seriously, I've read 2000ad since the mid to late 80s, and to think 30+ years later, I will collaborate with him on multiple Judge Dredd stories and have a creator owned series with him, it's just incredible.

Dan: After the first series of Rok - Rok of the Reds came out, John said he thought I was good enough for the prog and that he'd have a chat with Matt Smith about getting me a tryout. A little while later, John mailed me to say Matt agreed, and he'd sort something out. At that time, I was still finishing the last issues of Rok, so I didn't really have the time right then. A few months later, I was at the 2000ad 40th convention in London, sitting at John's table signing copies of Rok. John went to do a panel, and Matt Smith came over and said, "I hear you'd like to be in the prog, I'll get you a Dredd, probably one of John's. That OK?" Obviously, I was blown away, said yes and it was effectively official. The rest is history. My first 2000ad gig was a 5 part Judge Dredd written by its creator, John Wagner!

Dan: It wasn't as daunting as you'd think. By that point, I had worked with John on so many things that I was used to the process. He's just a dream to work with as an artist. His scripts are that perfect balance of not being too specific in regards to details but enough so you know what he requires from you. His scripts are clear and precise. When I get them, I sit down and read the whole thing with a coffee and end up wanting to know what happens in the next episode, which he hasn't done yet. He's a master craftsman. When it came to The Citadel, I decided I would push the boat out with the detail and really create an environment that the reader could enjoy. I just wanted to put as much in as possible. The problem is I've made a rod for my own back now, I just can't help making even small panels detailed. The story was an action story with plenty going on in every episode, so that was enjoyable. I did ponder doing the whole story with a strong Carlos Ezquerra style, but I decided not to. I thought it best if I just did my thing. Trying to emulate a great could really have affected the finished article, and I'm no Ezquerra anyway, so it would have been a cheap, poor copy. As it is, it's been credited as my best work, so it turned out well in the end. I'm very proud of that story.

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Paul: Would you describe yourself as a fast artist? How many pages would you say you can complete in a month for example?

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Dan: I was a quick artist before, but the reasons I stated above mean I've slowed down a bit now. I used to be able to do a page a day, pencils and inks, but now it's one every two days or so. Funnily enough, I've also had issues sourcing my pens that I use. They're not available here in the UK, so I had to get them imported from Europe. Since Brexit, that has become far too expensive. £15 shipping for a few pens means I've had to start using different tools which I have to get used to using. That's slowed me down. Hopefully I'll get back to my regular pace once I've mastered the new pens. I suppose I can do anything from 12 to 20 pages per month, depending on the complexity of each page.

Paul: For many artists technology and the use of computers has changed the way their art is created? Could you say how much your art is digitally created?

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Dan: I see computers as just another tool. I don't shy away from using them, but I also don't use them for the main aspects of my work. Obviously, I use them for scanning and cleaning up my inks, ready for colours etc. On occasions, I may use a computer for difficult perspective shots of scenes. I don't shy away from using reference. All artists use reference, whether it's on Google, my computer or photos. My phone is full of embarrassing shots of me trying to be Dredd or even a hot young woman. I'm my own reference model. I'm effectively making a product to sell, so it's got to be as good as it can. I'll use what I can to make it as good as it possibly can be. Using 3d reference is also vital, whether on the computer or something else. I've even resorted to stacking cereal boxes to form  basic city blocks. Whatever it takes.

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Paul: Assuming you read a few comics as a fan do you prefer reading comics in a paper form in your hands or have you tried reading comics digitally?

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Dan: I'm definitely old school. I prefer the physical copy over the digital versions. Though I understand the appeal of digital books. I moved recently. Plus there's the new book/comic smell you just can't beat.

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Paul: Have you got used to being a little famous now? Granted COVID messed up the comic convention circuit, but have you enjoyed being a guest at conventions?

Dan: It's a bit weird. Coming at my age after years in regular jobs, but I suppose when you're in this kind of industry, it's normal. I really enjoy the appreciation that my work gets. It inspires me to improve and do my best work for each project. The convention circuit is amazing. Having fans of my work coming up to me and commenting on how much they like my art is very flattering. One of my old jobs was a bus driver, and the majority of the time, I got the complete opposite, so it's quite bizarre. I have to give a massive shout out to the organisers of the conventions. The work they and their teams put in to them is incredible. Not something I could handle.

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Paul: For what is worth I always make a point of thanking bus drivers. Do you occasionally get a little "Starstruck"(for lack of a better word) meeting other creators?

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Dan: Of course. They say never meet your heroes, but so far, they've all been amazing. It's kind of strange sitting, having a chat, meal, or a beer with someone who you admire so much. And as I said, not only are they super talented, they're all genuinely lovely people.

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Paul: That's great, do you have any fun (or funny) convention stories you can share?

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Dan: I have plenty of stories, but none that I could possibly share. Safe to say, there's generally a good amount of alcohol involved, and things happen. What happens at the con stays at the con. One I could share, I guess, would be the time a guy thought I drew Doctor Who. He was 100% convinced, and it didn't matter how much I explained I haven't drawn the character - ever, he still wanted me to sign his book. After 5 minutes of arguing, I just signed it. That's a clean one that gets no one in trouble.

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Paul: Prog 2217 is worth mentioning. I'm guessing doing your first cover for 2000AD must have seemed like a pretty significant milestone. At the time did it make you feel that you'd really arrived?

Dan: It was definitely significant for me. When you've read the comic for nearly 35 years and dreamt of being a comic artist, to see your work on a cover of the Prog, on a shelf in a shop, well it doesn't get much better. It was entirely fortuitous, too. I was experimenting with different papers and just sketched a Dredd. I kinda liked the pose, so I tightened up the image and inked it. Then, I spent a while deciding what I could put into the background and whether I should. Once that was decided, I coloured it in Photoshop and sent it to Matt Smith to see if it was something he could use. Amazingly, he decided that it was worthy enough to grace the cover. It was incredible to see it in the flesh a few months later.

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Paul: Apart from Dredd are there any other 2000AD characters whose stories you're itching to have a go at illustrating?

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Dan: Some of the classics. Rogue, Slaine, ABC Warriors, and obviously Strontium Dog. But I think John won't do any more after the loss of Carlos. Which I think is right. I have recently done a Missionary Man with Gordon Rennie for the 2000AD/Megazine Zombie Crossover. Really enjoyed that, so another Preacher Cain would be cool. In all honesty, anything 2000AD and I'm a happy droid.
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Paul: So, currently no ambitions to work abroad for American Publishers in the land of Superheroes etc.

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Dan: My ambition was just to become a comic artist, preferably a 2000AD comic artist. But I do love American comics, too. Maybe more the Vertigo style rather than superhero. I do enjoy a good superhero book though, but if we're talking about my work, personally, I think my style would suit something more along the lines of Preacher or Walking Dead over Superman or Spiderman. I would love to do a Batman (I dont see him as a superhero), something like Sean Murphy's White Knight, or even Spawn. I think that's more where my style sits. So, yeah, I'd like to have a crack at the American market, and maybe one day I will. But for now, I'm more than happy drawing pages for 2000AD and the Megazine. I would add that drawing WW2 strips is something I love to do, too. Such as the Godwin's Law story I did with former 2000AD editor Steve McManus. It's funny, I don't think WW2 comics are big sellers in the US. I don't know why? But over here, we still enjoy a good Battle, Action or Commando comic.

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Paul: My penultimate question is simple and a bit daft but I like to ask creators this for no logical reason at all. If you could have a superpower what would it be?

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Dan: Time travel. Not sure it's classed as a superpower. I think it would be wonderful to travel to the past and see how life evolved, how monumental events took place, moments in history. And to have a gander at how things are in the future. What advances we have made and how well the planet is doing.

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Paul: My final question is simple. Can I just as where you see yourself in the future, or in perhaps five or ten years ten years?

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Dan: Who knows? When it comes to freelancing, it's incredibly hard to plan too far ahead. You're always looking for the next job, so to hazard a guess at to where I'll be in 5 years.... probably doing the same as I am now. All being well. Anything above and beyond that would be a bonus. I would like to think I'd have possibly done something for another market, whether that's the US or European market, but I couldn't be happier drawing for 2000AD and its sister publications.

Paul: Dan, it has been an absolute joy. Thank You.