Artist Fiona Staples Blends Horror with Sci-Fi Fantasy

Fiona Staples is a Canadian artist who’s drawn for Trick ’r Treat, 2000 AD, and the wildly popular Saga series. She’s been making art since she was a kid, but where most quit, she kept on going. “I think all kids like to draw and I just kept doing it; I never stopped. When I got to high school, I decided I’d like to go to art college and somehow make a living out of it,” says Staples.

creator02389._QL80_TTD_

Archie comics were the first comics that Staples began reading, she remembers. “They were…pretty much the only ones I had access to as a child. You really have to go out of your way to get into superhero comics or anything like that, and you can only really buy them at specialty comic shops, which is not the case with Archie, obviously; it sold at every grocery store and gas station,” she says.

While in college at the Alberta College of Art and Design, Staples was influenced by American, Japanese, and European comics. “I was really into Heavy Metal for a while,” she says. “Stuff like Heavy Metal made me realize painted comics were a thing—that comics didn’t have to look a certain way or be a particular style. That was a huge revelation.”

Staples started drawing her first comic series during her last year of college. “We had this sort of portfolio building class where we would put together whatever we wanted to do, so I started working on this comic. I worked with this writer, Andrew Foley, from Edmonton. We met on a message board for local creators and he sent me the script for Done to Death. It was five issues and the first issue was out by the time I graduated. That summer, in fact,” says Staples.

From her work with Foley, Staples landed her job on the horror graphic novel Trick ’r Treat, which also coincided with the last time she did work by hand. “Trick ’r Treat was the last thing that I did drawn in pen and ink, but colored digitally. The next series was Hawksmoor, which was on a really, really tight schedule. I had to turn around a fully colored issue in four weeks for six issues, so I thought there’s no way I can do this unless I go digital,” says Staples.

-1

Of the comic genres Staples has worked with, she’s found herself drawn to horror. “I really enjoy doing horror stuff actually. A lot. I don’t have any particular affinity for superheroes. It’s not something I’m really interested in doing,” she says.

Staples finds the superhero genre to be limiting and wants to bring diversity to comics, something she and Saga writer Brian K. Vaughan have especially concentrated on in their series. “All the corners of the comics world except mainstream superhero books have pretty much agreed that diversity is a positive thing. I think the important thing to do now is create women-friendly books, and that will lead to more female creators in the next generation,” she says.

Though Saga is “not horror, unfortunately,” Staples has injected some elements of the genre into the series. “I’ll always leap at the chance to draw a weird monster. I loved doing horror work, so it’s always cool when Saga takes a turn for the creep—although I don’t think our ghost girl Izabel is scaring anybody,” says Staples.

Saga-Izabel

As far as her top characters for the Saga series, she says, “Lying Cat is a favorite!” She’s learned a lot while drawing the series and is happy with the artwork and characters she designed early on. “There’s nobody I’d change, because accepting weird decisions you made on the fly years ago is part of doing an ongoing series. You just live with it! My favorite moments are whenever we see the surface of a new planet for the first time, or a new character is introduced with a splash page.”

Lying+Cat

When buying comics for herself, Staples goes after what pleases her visually. “If I don’t enjoy the artwork, I can’t enjoy the book,” she says. “Sometimes the story can be enough for me to get into, but usually I buy what looks good. What can I learn or steal from them?”

Looking at others’ work has helped Staples develop as an artist, and she does not limit herself to just comics. She’s also influenced by painters, classic illustrators, and especially animators. “You have to look at everything else that’s out there. That’s how you improve your taste, how you see what’s good. You study it and then go back and give your own work a very hard look to see where it is and where it needs to be. It’s something I try to do constantly,” says Staples.

Staples’s work process varies somewhat day to day, but she tries to be consistent when working freelance. “I try to stick to a schedule, but it doesn’t come easily. I usually double my workload as a deadline looms. Probably like most people, I would imagine,” she says.

She’s found that to be the hardest part of working as a freelance artist. When asked what is her biggest obstacle in regards to work, Staples says, “Fighting procrastination or anxiety at your own work and sticking to a schedule, which can be hard to do when you’re home alone all day with no one really monitoring you. Yeah, that’s the hardest thing to get right, but I think I’m there now or at least close enough to where I can do an almost monthly book on time.”

9310b4abb83f04142427375ee3e1f0d2

The success of Saga staggered Staples since she considered it an odd story unlikely to get much of a following. “I’m really, really grateful to our readers who decided to show it to their friends or give it to their mom or their girlfriend or husband because I’m pretty sure that’s how we got our readership—through word of mouth and people lending their books out. It’s been really amazing to see. I never thought a book this weird would reach this many people and I’m kind of continually surprised,” she says.

Though Saga is not ending anytime soon, Staples would like to dabble in more projects that focus on horror. “I think it would be cool to do something in the Hellboy world some day. I love that sort of folklore-based horror stuff,” says Staples.

WiHM2016Girl-WhiteOnBlack-medium

Sources:

http://www.graphicnovelreporter.com/authors/brian-k-vaughan/news/interview-090110

http://www.themarysue.com/fiona-staples-interview/

http://www.avclub.com/article/fiona-staples-reimagining-archie-and-building-capt-222214

http://www.heroicgirls.com/interview-saga-artist-fiona-staples/

http://www.comicbookresources.com/article/brian-k-vaughan-and-fiona-staples-return-to-saga

http://ifanboy.com/articles/interview-fiona-staples-talks-saga/

Advertisements

Heavy Metal Memories, or Being a Lady in the ’80s

One of the great things about being a military brat is the ability to transform yourself when you move somewhere else. A lot of people live in the same place for all of their elementary, middle, and high school years, and they might get pigeonholed for a few standout events that they didn’t even intend. Then they’re forever known as the brain, the athlete, or the burnout. With the military, my sister and I were able to make ourselves over every couple of years or so because we would move to a place where nobody knew us. Nobody had ever met us; it was a clean slate.

I think my favorite metamorphosis happened, though, when my dad was out of the military. I was a freshman in high school and so shy and awkward that I could go for days without speaking. I wrote poetry that rhymed and hung out in the art room during lunch painting so I didn’t have to interact with others. I owned a pastel-pink sweater and wore it proudly.

Now, my younger sister, Kristi, was in junior high and having a hard time with school authorities, who thought she was on drugs (she wasn’t). She was into metal, had a thing for Blackie Lawless, and wore leopard-print spandex with her hair dyed black and cut in a Joan Jett shag. Her world revolved around music, and the heights of ecstasy came when she was able to go to concerts.

My parents were pretty liberal, but they had their limits—one was Kristi could not go to metal concerts by herself. My mother accompanied her to a few, but I imagine nothing can be more embarrassing than having your mom in tow at a Mötley Crüe concert. That’s how I came into the picture. Kristi wanted to go to a KISS concert but without Mom and Dad, so she leaned on me. It wasn’t too hard to convince me. Concert tickets were still pretty cheap then, running around $20, which I could easily afford with my babysitting money.

Before we went to the concert, Kristi insisted on dressing me. She said I would look out of place, so I let her. She ratted my virgin hair, so thin it couldn’t hold a bobby pin properly; did my makeup with lots of black eyeliner; and dressed me in some of her clothes—a red-and-black striped shirt, black tank top, black spandex, and black high-heeled boots left over from my Madonna Desperately Seeking Susan phase. I was a woman transformed and felt completely weird and freaked out. It was like I was in a costume. I never knew my hair could go so high.

Waiting on line to go through the metal detectors, I got pissed at Kristi as I surveyed the crowd. Barely anybody was dressed like us; they wore jeans and T-shirts and looked comfortable. They could blend. Me, I was now more than six feet tall with my high-heeled boots and teased hair, and so … glittery. People stared and I hated it. Once we cleared the metal detectors, Kristi ditched me to hit the floor, telling me that was the best place to be because you could get up close.

I was mad. I wanted to hide in the bleachers and just get the whole concert over with. I went and picked out a seat all by my lonesome, sat down with my arms crossed, and just glowered, hating everybody. Now, usually when I pulled my pissed teen routine, everybody just ignored me. Not this time. This time it seemed like people were afraid of me, giving me wary glances, and though the place was packed, I had a semicircle of space around me until the last minute. And even then, rather than ignoring me and plunking themselves down like they usually did, people asked me first. “Excuse me, miss”—gesturing toward the seats—“are those empty? Are you waiting for your friends?”

I think I shrugged my shoulders, afraid to speak, but inside, I thought, Holy shit! People are afraid of me. This is genius! A transformation came over me: I sat up taller, I straightened my shoulders, and when the band came on, I stood up with everybody else and stayed on my feet the whole night. It was cathartic seeing these loud bands, knowing the lyrics and being able to sing out loud without worrying about anybody commenting on my off-key voice, and having beer spilled on me. I liked Gene Simmons with his tough-guy look but not Paul Stanley so much with his idiotic stage patter between songs. He said the band had been in Madison, Wisconsin, the night before, the dairy state, and he could tell because all the girls had huge breasts. Immediately that set off a douche bag alert, and I hated him for the rest of my metal days. Gene Simmons was a little more reserved back then. Had he opened his mouth, I’m sure I would have hated him too.

After that, I had my metal metamorphosis. I liked the music because it was angry for the most part, which was how I felt inside. I loved the fashion associated with metal because it set me apart. I already felt like a freak, but putting that on display made me become braver than I would have ever believed. My hair went from blonde to red, then redder and redder, and high—how high I would tease it. And the wardrobe was pretty cheap. From thriftier times in our family, my sister and I had learned how to use scissors and a needle, and we were able to transform plain T-shirts to cropped tops and so on, though Kristi was always better at it than me. She had a pair of artfully frayed jeans and had sewn a snakeskin scarf in as a back panel. How I coveted them. Of course, my ass was always an inch bigger than hers so I could never borrow them.