Asking "Nearly" '77 Questions With Andrew Sawyers

Andrew: Initially the stand alone script, was an isolated story. When I was asked to rough out some prelims to give them an idea visually what it would look like, I made sure to include illustrations which showed not only character designs, but the environment they operated in, the world they live, work and sleep in. I wanted to open a door to Bambo’s and the editorial. I wanted to show them there’s more here to work with, you can have if you want, an ongoing story that eventually could build into something else, a potential legacy. In real terms, the bulk of what I put forward though was mood pieces, armoured guard designs, the look of the populace. I did change the whole alpha numerical name thing on the back of their orange flight suits, distilling it down to a barcode with a simplified eagle surround, and the name then runs along the serial number of the barcode.

Andrew: I wanted something more permanent, and as clothing be changed, the barcode is continuously read as traverse through ‘The Cell.’ Influences came from lots of Colin MacNeil stuff I’d been reading, not directly, but taking that interpretation of how he approaches buildings and stuff . It was and is very crude, but then, so was a lot of early strips. I'll return to it soon enough, and I think I’ve worked on enough stuff with variation, I’ll be able to bring a lot of new things to The Cell … Make it bigger, badder, harder … … meaner !!

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Andrew: Not sure about star artist, there’s some real talent involved in this such as Ben MacLeod, Ian Stopforth, Charlie Gillespie and Lew Stringer. More relevantly it’s a group effort, with a strong Editorial including Art Editorial. I think in essence it’s the grass roots, DIY ethic, in spite of the slick production values that have resonated with an audience who yearn for that more subversive underground genre of comix … Early 2000ad, Warrior, Electric Soup etc.

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Andrew: I believe it has real longevity, and there’s plans ahead throughout 2023 and beyond for The ‘77, Blazer, Pandora and Haunted. I think, in its current iteration, there’s an audience for a comic of this size as it presents considerable value, and it’s inclusionary attitude towards its readership is a real strong selling point and has created brand loyalty/ I’d like to see it around for decades quite frankly, things like these have an opportunity to become and have an enduring legacy which can become a platform for new talent. As an experience it has been very rewarding. Whatever it is, readers have taken to my art style, and that’s been more than enough encouragement to continue devolving and pushing harder to keep taking it up a notch. Likewise I’m close with many of the writers, letterers and artists, we’re enthused by the reception and that is more than enough to keep on going. Whilst comics are being hit hard by the current economic climate, it’s that hands on engagement that has got us this far, and hopefully it will grow our audience.

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Andrew: Good question, I guess I’m a traditionalist! After a 25 year hiatus, it’s been a hard road getting to grips with everything, and there’s still lots to learn, figure out and explore. When it comes to pages of sequential stuff, I usually sit down with the script and read it through over coffee, and make little annotations, really small little thumbnails and ideas and try and get a feel for each page's layout. Subsequently, I rough it all out on scrap paper, which is a great process for literally just drawing and drawing over the top these prelims - they serve as a great guide later on when committing it all over onto art board. I start roughing everything out in blue line (pencil) really loosely. I like to keep that energy going and it creates an atmosphere and feel that I try to keep as I move each page forward.
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Paul: It sounds to me like you have a lengthy process.
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Andrew: When I’m relatively happy, I start to tighten up the pencils using a propellant pencil, and start to drop in shadow and texture to inform what, or how I’m going to ink it all. It’s a little tedious, but I line everything in, this has proved to be useful when fully committing to full inks as you can see what needs correcting, lines that need to be thickened up or where patina or additional effects are required. Lastly, I usually, if required, start working back in with white out pens. When it comes to colour, I’ve adopted as my preferred medium, marker pens, whilst proving inconsistent (I like the stark contrast and mottled effect which gives a nod to the printing process of older comics) I like that raw, more tangible, textured aesthetic. Many comics are becoming far too polished. There’s a magic wand to that ‘demo tape’ feel to older stuff. I use little to no technology when producing any or all art. I’m not opposed to it, but have drawn additional panels, scanned them and had them composited in. I’d like to explore digital colouring, but I’d use it in a way similar to how I colour artwork physically . I quite like the fact you can drop backgrounds back and flatten colours, do cool reverse negative stuff.

Paul: So are you conflicted about digital colouring?

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Andrew: I’m not a fan of digital colouring where everything gets a highlight and lens flares everywhere. Technology is here to stay and has become a common place everyday tool amongst many if not all illustrators. I’m sure I’ll embrace it at some point, if only to achieve some things that physically can’t produced in ink or paint. I do believe though, over the years ,  within illustration it’s become more natural, and is used equally and sparingly like any pen or brush, it’s not so jarring as it once was. For now though, I’m enjoying mastering the basics and getting to a point where I’m satisfied and confident in my ability.

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Andrew: I’m torn. I prefer a physical copy, as I collect and there’s just something that feels great about about a tangible copy, that new book smell and feel. I’ve read Snow Angels from Lemire and Jock, and Book of Evil from Jock and Snyder, both worked hard to utilise the digital platform to their advantage and that made it enjoyable. It can come off as a little cold and clinical visually, but I appreciate it’s the future and great from a storage vantage. I’d like to present something eventually as digital exclusive and see what the medium has to offer. I thought it was cool that Comixology/Prime made Snow Angels free to members. It was a good marketing tactic and presented yet again good value to having that membership. All that aside, there’s nothing better, even after all these years, sitting at the table with a fresh cup of coffee and a brand new comic, or trade to read.

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Andrew: Ha, I’m not sure about ‘celebrity.’ It is a word I’m definitely uncomfortable with. I’m a simple guy and as long I’ve food in my stomach and those I care about happy we're good to go, but, yeah it’s an honour and a privilege, and one that’s to be cherished and respected. It is satisfying to be able to connect with people, readers of stuff that’s been published, and it makes all the blood, sweat and tears worthwhile. It is a celebration of that, and to be able to share that reaction, which has been incredibly positive, it a palpable experience.

Paul: Please tell me more.

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Andrew: I think several things that have blown my mind. At two separate LFCC’s some readers had travelled very long distances to get stuff signed, I was absolutely blown away by that, y’know, so you try and take care of em’ and get em’ some free prints, remarque their copies and do em’ a sketch - simply because they deserve it. Whilst I’d be doing this for fun in my kitchen, I’d not be here or at the Con without these incredible people. It’s also very gratifying to receive acknowledgment from peers. Clint Langley took me out for a beer, we were discussing The ‘77 when a voice behind us called out and exclaimed ‘I read that it’s cool stuff’ - it was Will Simpson! It’s presented some huge opportunities, to a panel with Steve MacManus and John Higgins, share stories with Geoff Senior and to be published alongside McMahon. I’ve done smaller stuff and bigger shows like Thought Bubble, but the key rule for me is to engage, be generous with your time and be patient. It’s about the attendees day after all, right? Publishers and event hosts have been very kind and gracious, Tim Pilcher springs to mind, and is working hard along with his team to bring comics, art and the whole big event back to cons. I’d argue he’s the standard setter, and really goes out if his way to make you comfortable. So, I gotta say a huge thank you to him. It’s a surely bizarre and surreal position to be in, and it’s hard not to get distracted by the thought ‘how on earth did I get here’ and I just feel very, very lucky. I walk away with the mindset to produce and work harder and making better comics and giving those that are there at the cons even better comics !!!

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Andrew: Yeah, once (so far) whilst at Thought Bubble last year, I’d taken up some stuff as I knew he was gonna be there. He had a queue forming already, but midway through signing some kids stuff Jock called out to me by name. I apologised to the kid in front of and asked for a minute and signed up my stuff. He’s a real hero of mine, I’ll always remember that and that’s the standard to be - it meant an awful lot !!!

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