John Charles: Triple Threat.

John Charles is a professional comic book artist and colourist, and now writer. He’s been a graphic designer for Trident Comics, drawn/digitally painted covers and illustrated some Future Shocks for 2000AD, provided cover art for Antarctic Press and IDW in the U.S. He has also coloured Spectacular Spider-Man and a variety of other strips for Panini UK’s Marvel Heroes comic. He has lectured in comic book art at Staffordshire University on their Cartoon & Comic Arts degree course for many years. Most recently John has been a regular colourist on Sinister Dexter and sometimes Judge Dredd for 2000AD.... Also on a personal note John likes custard and Bakewell tarts and beetroot and jacket potatoes, amongst other things. Oh, he is also the co-creator of the fantastic TechnoFreak comic from Sunday Lunch Comics! John was also kind enough to offer some comments upon the images I used for our chat.

Note: The Image used to enter this interview is one of John's alternate covers for the American edition of his comic TechnoFreak he calls TechnoFreak Prototype. A link can be found here: http://kck.st/3jTiUvw

Paul: I like to begin by simply asking how your love of comics began? What were the very first comics you recall especially enjoying? How old might you have been at the time? And what was it about them that you enjoyed so much?

John: I think I first met Marvel characters in 'Terrific' or 'Pow!' back in the 1960's. I remember being impressed with the Hulk fighting off hordes of what I think were The Leader's minions. Jack Kirby art of course, but I wouldn't have known that then. I would have been seven or eight, I guess. (I was born in 1960.) Later, I got into DC's mainly, via my friend Barry May's influence – it was the mother-load – American imports. I remember Denny O'Neil and Neal Adam's 'Green Lantern/Green Arrow; and some of his Batman comics coming out and the art blew me away. My first Marvel book was a Spider-Man. I was semi-livid with my Mum for bringing back a comic that wasn't a DC. (I was ill, for God's sake. Bring me what I want!) At thirteen, in 1973, or so I loved Wein and Wrightson's Swamp Thing; classics to this day! Later, I think, I fell into Marvel imports too; Jim Starlin's Warlock being a particular jumping-on point. It wasn't strictly a super-hero book and I loved it's idiosyncrasies, mind-bending time paradoxes, and quirky artwork. I was there for Howard the Duck, and many more... I was becoming an addict.

Paul: Before your first published work, did you have many knock backs or rejection letters. For most creator it is a rite of passage.

John: Oh, yeah. I popped in to Kings Reach Tower in London when I was around eighteen with some 2000AD samples which really weren't good enough. Art editor Robin Smith was kind enough to spend some time with me, and suggested I go to art school, which I later did at twenty-three. I sent stuff to Marvel in America and had the odd letter back from them They were encouraging but no joy. I started to go to conventions, and met then X-Men editor Bob Harras in London and he offered me a shot at a short X-Men script to try out on. I did it, but never really got proper feedback, and I'm sure it wasn't really good enough. I think folk have to accept some rejection and still push on. There's a lot to learn and most eighteen year olds really don't know it all. I certainly didn't. I only broke in once I actually was reasonably proficient and it took me a long time to get there. “Dedication's what you need,” as Roy Castle would have told you if he were still with us.

Above: TechnoFreack, Design for Endewok Smooj by John Charles... by John and John's sample Transmetropolitan cover sent to DC.

Paul: What was your first actual published work? Who was your first editor and did it feel amazing?

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Note: "This one is by Jake Lynch with colours by me."

John: Technically, my first published strip was in my Fanzine, Workin' Klass Super Hero in 1978 or so. I was the editor, if there was one. Glenn Fabry debuted there too as did my chum Steve Brown. We've all drawn professionally since, and Glenn is a superstar of course. My first professional work though was for Marvel UK in the early 90's. I had been working with the mighty Dan Abnett at Trident Comics, where I'd wangled a gig as a graphic designer on 'Toxic!' and other stuff.

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John: Dan put in a good word for me at Marvel UK and I was pretty soon drawing a Warheads short for editor John (Down the Tubes) Freeman. It was meant to go into 'Overkill.' It was inked brilliantly by Cam Smith, but never saw print! My first published work was 'Knights of Pendragon' (series 2) #13, with terrific inks by Martin Griffiths who was assisted by Lee Townsend, now another friend. The editor was Stuart Bartlett, I believe.
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Paul: Could you tell me the story behind the Smooj image shown above please?

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John: Sure... It was done as a sample, just for fun really. I've always thought it was quite powerful I was well into 3D modelling on computer in those days, so the head is based on a 3D model I made and digitally painted over... I sent it into 2000AD at some stage, and as memory serves, Andy Diggle commissioned a story from Mike Carey to feature the character that became Dr. Endewok Smooj. The story was called : Inside Job (Prog 1230) and was my first strip work for 2000AD. My art on that story is raw, and perhaps overworked, but I'm still proud of some of it. I distinctly remember a phone call from Mike, during which I queried his original ending, perhaps rather cheekily. He went away and re-wrote it and I think we got better story out of it. (Cheers, Mike. I'll never doubt you again!)

(Note: John's Dredd cover for IDW, Carnage John drew and colored for Panini UK under license from Marvel, inks: Julian Hugonnard-Bert.)

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John: I learned a lot from John Freeman, especially to leave more space for lettering. I had to take a rubber to what I considered some beautiful artwork as I had left hardly any space for words. John taught me about storytelling too, playing to big moments, like when the villain enters a scene. Sounds silly now, but I was pretty raw, and I'll always be grateful to John for teaching me stuff. I teach now too, and always try and mention John's advice, to save students from having to do stuff twice. I met editor in Chief at Marvel UK Paul Neary all too briefly, and he gave me some great advice too.
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Paul: I believe I have spotted a very cool Transmetroplitan cover you did for DC. Could I ask about that please? It was a reasonably high profile series at the time. How did it come about?...and were you given any guidance from Warren Ellis at all on the image?

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John: I did try and send the Transmet piece to Warren Ellis. It was in the very early days of me using the internet/email and I'm not sure he ever saw it! I didn't want to annoy him, so stopped sending it. I met Mark Chiarello (then DC Art editor) and he loved it. He pinned a copy to his office wall and tried to get me a gig with the Transmet editor, who left the job to go to Marvel, so my opportunity went away. I did get to show it to David Bishop though and that one piece got me a gig at 2000AD. Transmet was a terrific comic and an obvious influence on my TechnoFreak, athough I'm nowhere near as clever as Mr Ellis.

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Paul: What is TechnoFreack? what inspired the excellent comic? And how do you see the future of the title?
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John: Oh - the future IS TechnoFreak. I think it'll be the making of me. I'm pencilling the next issue myself, (I've started) and editing an anthology of TF short stories featuring Jon Sherlok and the supporting characters, who are proving to be very interesting in their own ways. The tie up with Puppet Theatre in Australia should grow and be very useful. Next stop, world Domination!
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Paul: There are worse people than yourself to try to claim global domination. Could I ask about any of your influences for TechnoFreack?
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John: Okay influences: Will Eisner, a retro 30's feel, Transmetropolitan, Judge Dredd, The future, Blade Runner (on acid and with it's tongue firmly in cheek!)

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Paul: Technology has in the last twenty years or so surely changed the way artists produce their art. Could you say how much your art relies upon a computer or how much you occasionally use traditional tools?

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John: Oh, both but with more and more tech and sometimes less time. I have straddled a time from before computer into the 'now'. At one point I did a lot of 3D computer modelling and used it in my work, whereas I used that to make plasticine models! I am considering revisiting the computer modelling approach, but I am also pencilling new stuff very loosely with a 2B pencil on paper, and using a rubber sometimes too, not Command-Z. The old hand skills come in really handy sometimes. Drawing (the key skill), Inking, painting can all be done either digitally or traditionally these days. Photoshop allows for endless amendments, which is cool, sometimes. I write more and more these days too, and the computer is my friend there. Also, of course, it's great that one can get face to face with distant friends and collaborators (and interviewers!) My work is always delivered digitally now too. Poor old FedEx - redundant!

Note: "The left hand image is a sample piece. People take it for Hellblazer but it was never that specific. The model is great mate, Mark Garner. It's a digital painting. The right hand picture is one of six 2000AD covers that I have illustrated to date."

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Paul: How do you prefer to read your own comics personally? Do you enjoy digital comics on a tablet or a laptop? Or do you insist upon a paper copy in your hands?

John: I have never read a complete comic on a screen. Some things are sacrosanct. I used to be a printer, for God's sake. (It was my first real job.) Ink on paper, the turn of the page; that'll do for me. You can't read a comic by candlelight on a computer if there's a power cut. I don't read so many comics these day as I'm too busy making them, but I still have a deep affection for the little rascals.

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Paul: Covid hit the comic convention circuit a great deal, but in general are conventions a part of your job you enjoy?

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John: I can enjoy a Con. It's nice to meet folk, especially genuine fans of TechnoFreak, and we sell copies and make new converts at Cons. Most comics folk are so nice. I have made lifelong frriends from Cons, and got work too. I sort of have to become a super-salesman sometimes, and it's not my strength. I like one day cons. I find two days of tabling a bit wearing to be honest. It's good to have assitance at a table. That helps a lot. (Cheers, Sophie! xxx)
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Paul: Can you share any fun stories from meeting any fans or fellow creators?

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John: I met Jon Haward at a meal with fellow creators in London once. He was such fun, a terrific raconteur, and we became friends almost immediately. He is a teriffic bloke - funny, knowledgeable, confident, a gentle giant. Jon got me into colouring for him at Panini. I was unemployed and pretty unwell when he called me out of the blue and hooked me up with his editor, Ed Hammond. The rest is history.

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John: I also met Neal Adams at San Diego in 2000. I showed him my work and he said I couldn't draw ladies' feet and should use photo reference. He was right, of course. I like to think that Frazer Iriving and I are friends. I only ever see him at Cons, but we did speak on the phone the other day. Aren't phone calls old school? I still like them... I have other stories, but they are not for publication - sorry.

 

Paul: It may sound like a daft question. Comics often involve remarkable superheroes. Could I ask in that case what would be the one superpower you would enjoy?

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John: I'd like to sleep better. These days, I bubble with ideas for TechnoFreak and I think I am becoming Dean Motter's Mr X - an insomniac! It might be nice to be able to fly, but I am scared of heights, so maybe not. Teleportation would be useful... Does that count? 

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Paul: Yes, I think it certainly counts! I must still ask where John Charles will be in perhaps five years time? Is there anything you would like to promote and vitally what could you offer to a future writer?

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John: John Charles will be blissfully happy with his lovely girlfriend who will be glad she stuck with him through the lean years, now that he's proper minted. The Technofreak movie will be a massive global hit, but not half as good as the original comics. Tom Newell will be drawing TechoFreak again, to save John the hassle. Oh, can we promote the current Kickstarter from Puppet Theatre for the Graphic Novel collection. Please back it. It rocks. And you'll wish you had one when the movie(s) come out. 

http://kck.st/3jTiUvw

Note: This is John's and Ian D. Peterson's cover to the first TechnoFreack graphic novel and to the right for historical value is the cover of Working Klass Super Hero issue 1 cover by Steve Brown and Glenn Fabry… John added the gradiant Letratone!
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John: What could I offer a future writer? A leg up writing in the TechnoFreaak Universe and advice. Write what you know, and what you can imagine. What else is there? Oh, write. Writers write. Ask Stephen King. Cheers, Paul. this was fun!
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Paul: It has been my absolute pleasure.