I was perusing samples of Bill Blankenship’s work, and I literally said aloud, “Wow! Awesome art!” Really, I seriously did. Bill’s work is technically awesome while maintaining a strong sense of personal style. So, it is my honor to introduce Bill Blankenship, comic book artist.
Convince us, in one sentence, that your comics are awesome.
My comics are made by someone who loves comics and is devoted to the craft, and he is chained to a desk in my basement.
What is your favorite comic or graphic novel?
Nextwave. That book is a combination of everything I like.
What (or who) inspired you to begin creating comics?
Greg Capullo was a huge influence on me as a kid. I was reading Spawn probably way younger than I should have. I think 11. That and The Maxx around the same time. I think this is around the same time I was a Power Rangers fan so it’s mixed. Ghostbusters was a really early influence and one that I think stuck.
If your comics had a soundtrack, what songs/artists would it include?
The Black Keys, Dr. Steel, Gogol Bordello Ronald Jenkees, Die Antwoord, Fugazi, B-52’s, The Like, DJ Shadow, Hockey, Muse, Radiohead, Puscifer. That’s some of stuff on my go-to work playlist.
Tell me more about “Abigail and Rox.” I saw the sample pages online and found the comic’s tone/themes familiar—with clear Alice and Wonderland inspiration—yet somewhat haunting.
That was a collaboration that helped me work out my environments. It had a lot of amazing and creative settings that you could elaborate in order to show what kind of world you were dealing with. The story had this feeling of the loss of childhood and I wanted to portray that as best as I could.
How have you developed your personal style, both as a writer and artist?
A lot of work and study of the techniques of artists I like for starters. I mean years of work. Study of the craft of cartooning, the science of it, to get that base to work from. For a while I really didn’t allow myself to really play with style because I knew the foundation wasn’t there. I’d also see a lot of young artists use it as a crutch and as appealing as that can be it’s not serving the story and I knew that. My simple page layouts are probably a symptom of that.
What was most challenging about self-publishing your novel, Special Edition?
Promoting it and scheduling. I really didn’t plan ahead as well as I should.
What advice would you give other aspiring comic artists and writers in regards to getting their stuff published?
I’m probably the last person you want to ask for advice but I think it’s pretty evident that doing it yourself is the smart thing. I’d recommend learning all the parts of the trade. Don’t just be a penciler. The next generation of creators to succeed are those who control their works and go directly to the audience. Make comics. Put them out there. Promote them. Listen to feedback. Strive to improve. Expect to work for 5 years before anyone cares about you. You have to be devoted to the craft.
I think it’s pretty obvious that mainstream comics lacks a woman’s voice, but the reaction to that has been a swarm of amazing women creators in the indie world. That indie world is going to be a lot more important to comics as a craft and business in the next few years in my opinion.
What is your next project?
Without saying too much it’s going to be done with Action Lab, as with every other project for the foreseeable future. I’m hoping to put some things I’ve learned and things I suspect to the test. It’s something I’ve had in planning for a long time and something I think a lot of people will be excited to see.
Is there anything else you’d like to add?
I do hope anyone still reading this continues to support Action Lab and our projects in any way possible as we strive to make comics that people want to read, and I’d like to thank everyone who’s supported us so far in his endeavor. It’s been amazing so far.
And mostly I’d like to thank my wife Darcy, without whom none of this would be happening.