---
Text:
THE AH!
FACTOR
F*** talks to pinup artist extraordinaire Adam Hughes at STGCC
F*** talks to pinup artist extraordinaire Adam Hughes at STGCC
By Jedd Jong
Comic book
fans everywhere know those familiar initials all too well – “AH!” Adam Hughes is
in town for the annual Singapore Toy, Games and Comics Convention (STGCC),
appearing as a special guest in Singapore for the very first time. Hughes is
accompanied by his wife and manager Allison Sohn, also an illustrator.
Hailing
from New Jersey, Hughes is a prolific comic book artist who has built a
reputation for drawing some of the most drop-dead gorgeous women in all of
comics. His work harks back to the golden age of pin-up art with its playful
sexiness, while also coming across as lifelike, cinematic and vibrant.
Over the
course of his storied career, Hughes has drawn for the likes of DC, Marvel,
Dark Horse and Wildstorm, in addition to adult publications such as Playboy and Penthouse. His career highlights include prominent cover artist
runs on Catwoman, Wonder Woman and Tomb Raider. Sideshow Collectibles has produced a series of statues
based on Hughes’ designs and his original art is highly sought after in the
comic art collecting community, running for a pretty penny.
While he
initially seemed a little intense and wasn’t prone to smiling a lot, Hughes is engaging,
enthusiastic and humorous during the interview, giving witty, well thought-out
answers to our questions. Sitting down with F*** at STGCC, Hughes shares his
thoughts on the evolution of the pinup, reveals his favourite female and male
comic book characters, speaks about the successful partnership he has with his
wife and provides insight into the unexpected challenges of being a career
artist. He also recounts his fascinating brush with Hollywood in the form of
working on the teaser poster for Joss Whedon’s ill-fated Wonder Woman movie.
How has the art of
the pinup evolved from the days of Gil Elvgren and Alberto Vargas to today?
As far as a first question goes, pretty tough [laughs]. It’s
changed because of the perception of women in society. With very few
exceptions, all the great pinup artists were men, there were only a few women
doing it, and they were depicting idealised versions of women. As time has gone
on, women aren’t meant to just be attractive or just be the mother to your
children, they’re their own people; they have their own place in society and
can do anything they want. The pinup has changed to reflect women’s power, as
far it’s not just them in cute situations. It’s not just them going “oh, a
puppy is pulling down my bikini bottoms, ooh!”
That’s one of the things that interests me and challenges me
as a pinup artist: I’m hired to draw strong, powerful women and I want to make
them look attractive. Nobody ever talks about the fact that when I draw
Superman or Captain America, I want to make them look attractive too. My main
job is to portray a character and I don’t do as much pure “cheesecake pinup” as
I used to, but I still try to inject an element of humour and good-natured
sexuality of the pinup into the stuff that I do. I do think the way that it has
changed is that it’s trying to be a little more…I don’t know if ‘respectful’ is
the right word, but aware.
You’re not just drawing a thing that’s to be looked at,
you’re drawing a person, definitely more nuanced, but also more aware that
you’re drawing a character, you’re not just drawing something that’s meant to
be looked at and appreciated for its beauty. When I draw Catwoman or Wonder
Woman or any character, I go “what’s this character thinking? What’s this
character feeling at the moment?” not just “how small is this character’s
costume today?” It sounds like a strange dichotomy, but it’s the way I work.
You were once named
“the greatest cheesecake artist” and in response, you said that instead of
“embracing” the title, you were giving it a “warm handshake”. You do more cover
art than interior work; would you call yourself a frustrated storyteller?
I’m not an especially frustrated storyteller, I’m only
frustrated with the fact that I don’t get to tell stories as much as I want.
That’s not because people don’t offer me comics to draw, it’s because I’m so
slow. I would love to be one of those people that’s just so prolific and works
on everything, I would love to tell a million stories, maybe I’ve only got 20
stories, I’ve only got enough time to tell 20. That’s the part that frustrates
me. As far as telling stories in single images, I don’t have a problem with that
because I’m allowed to, I’m allowed to use a cover to tell a story instead of
just portraying a character in a pretty way.
What’s your opinion
on diversity in comics today?
There’s not enough of it. However, I don’t feel that the
correct solution is a hammer. When there’s a problem in the world, whether it’s
in something as silly as comics or in the real world, the workplace, in
education or something like that, a lot of times people tend to go way
overboard in their response to it, as opposed to a measured response and an
incisive response [that] will actually get the most results. There are two
responses to any great social issue: ‘I’m going to sleep through it’ or ‘let’s
have a revolution!’ Maybe there’s a response somewhere in between apathy and
anarchy, where you can go ‘let’s try to make this better’.
I would love more diversity across the board in all media,
but I’m not a fan of ‘artificial diversity’, where you go “let’s just make this
more diverse for diversity’s sake.” I believe in everything, whether it’s
diversity or characters, locations, storytelling, any aspect of a creative
endeavour, I think that it should always be organic, it should always come from
“what am I trying to say with this story?” If you’re trying to tell a story and
for some strange reason, a character has to be a white guy, then he needs to be
a white guy. You should only change it to some other thing if making the
character, say, a female Asian, actually makes the story better. You shouldn’t
be doing it because “we don’t have enough female Asians in comics,” but because
you’re saying “this story would be good if it were a white guy, but it would be
amazing if it were a female Asian” or something like that. That’s what I think
about diversity.
Unfortunately, today is such a reactionary era that I just
realised, while I’m talking to you, that I could get into a lot of trouble and
I’m just going to have to take that if it comes my way. I just want it to be
for the betterment of story, not to fulfil an agenda. Hopefully we get to a
point where people stop looking at, say, the cast photo of a new Star Wars film and counting the white
people and black people, counting the men and counting the women, [and instead]
see how it plays out.
What issues have you
encountered in finding a balance in depictions of comic book women such that
they are alluring and sensual while also empowering and dignified?
I haven’t encountered any issues until lately. It’s just a
subjective thing – what offends one person is somebody else’s idea of pure art.
That spectrum used to be much broader. Nowadays it’s a little rigid – there are
people out there, especially in the west, who are getting upset at the way I’ve
done business for 20-30 years. It’s like “I haven’t changed, was what I’m doing
wrong 20 years ago or is your perception of what’s right and wrong, has it
changed?” Sometimes the sheer aspect of depicting someone in a glamorous manner
is offensive and everyone should look like regular folk to them. Gosh, I
wouldn’t have a job if that were true! For the time being, I’m still safe, but
I still lock my doors at night.
Your most popular
pieces feature the characters in a more light-hearted context, since many
pinups tend to be more playful. What are your views on the “battle” of lighter
and happier vs. darker and grittier portrayals of characters?
I think it’s a silly battle. I think it’s not an important
battle. I think everything that’s meant to be fun should be fun; I don’t like
it when light-hearted characters are made dark just for the sake of shock
value. I think there’s an important aspect to the darker side of things as
well. I think it’s a non-issue, not a real battle.
How do you overcome
artist’s block?
I spend most of my time scratching my chin and looking at
the blank sheet of paper than I do actually drawing. It’s either video games, I
will sit there and go “I’m gonna go kill somebody digitally and I’m gonna
pretend they’re artist’s block”.
Either that or I vacuum. I know a lot of artists who go “I’m not getting
anything productive done at the drawing table, I’m going to get something
productive done elsewhere” – that way, at the end of the day when you didn’t
get a darn thing drawn, you still feel like you were a useful part of society
because my floors are spotless.
What is the nature of
your creative and business partnership with your wife?
Extremely productive. We’re lucky, we both have a lot of the
same interests [and] we both like a lot of different things and bring new stuff
to each other. My work enables to her to have the freedom to pursue her art;
her work enables me to have the freedom to just focus on my artwork. We just
celebrated our fifth wedding anniversary and we’ve been together for just over
13 years – longest relationship for either one of us. We would walk if it
wasn’t working, we’re tired of abuse [laughs]. It’s a great relationship, we
get a lot more done, it’s much more enriched. If we were on our own, we’d be
surviving, we’d be doing okay, but because we’re together, we thrive.
You’ve drawn some of
comic’s most beautiful ladies and did a pinup for Fairest from Fables. Who do you think is the fairest
of them all?
I would say Catwoman. If I were drawing all the characters
at the same time, I would make sure Selina is the prettiest.
I love damaged goods. I think the reason why people like the
Batman universe so much is everybody in the Batman universe is damaged goods.
I’ve always said that everybody in Gotham City is awful and the only reason why
Batman is the hero is because he’s the least awful person in Gotham. Selina
Kyle should have it easy. She’s beautiful, she’s smart and she’s talented, and
yet, there’s something inside her that drives her towards a life of crime and
she wouldn’t turn away from it. It’s not just thrills, there’s something bent
and broken in her, just as it is with Batman and the Joker and probably even
Alfred. If you’ve ever watched Downton
Abbey, 100 people have to take care of that house and Alfred is the one guy
who has to dust, clean, make the food, clean the sheets and patch up the owner
every night he comes home shot. I’d be miserable too. I think that’s why.
Which is your
favourite live-action portrayal of Catwoman be it in movies or TV shows?
Oh, in Dark Knight
Rises. About 20 minutes into Dark
Knight Rises I went “Okay, I don’t care if Batman doesn’t show up, can we
just have two hours of Anne Hathaway doing cool stuff?” because it was way
better than any of the Batman stuff.
Who is your favourite
male superhero?
My favourite male superhero is Captain America. I love
Captain America. Last year I drew my first Captain America cover ever and I was
nine years old while I was drawing it.
He’s very different
from “damaged goods”.
Yeah. Nobody likes a perfect character, it’s finding the
character flaws and finding how the character overcomes those flaws. Those
character flaws are the same as the obstacles in their careers. It’s like for
Captain America, one of his obstacles is the Red Skull and the Legion of Hydra.
One of his other obstacles is he doesn’t really fit in – I love him and I would
kill to do a World War II Captain America story but I love the idea of a guy
who isn’t where he belongs anymore and there’s no going home.
As you get older, all of us are separated from where we were
born, not just by distance, but also by time. If you go back to the school you
went to, the town or village you’re from, it’s changed and you go “wow, that’s
not the way I remember it.” When Cap first came back in 1964, World War II had
only been over for 19 years – the only thing different was “well, the Beatles
have long hair”. Everybody he knew was probably still alive and I love the fact
that as more time goes by, he’s 70 years out of time and soon he’ll be 100
years out of time. He’s becoming Buck Rogers. I find the tragedy of that very
appealing.
What is the hardest
part of being in the comic book industry?
The hardest part - this is going to sound vague and slightly
Zen – it’s all the stuff nobody prepared you for. When you turn your hobby into
your job, there’s that initial “oh crap, I have to draw even when I don’t want
to draw?” When we’re kids and we’re all doing our favourite creative things,
whenever we want, we all wish there was no school so we could do our favourite
creative thing every day. The minute someone tells you to do it and says “you
have to have all this done by Friday”, it can really become a chore. “Wow, my
hobby’s no longer as fun as it used to be.” When you’re a kid and you want to
grow up and draw comics, it’s just like “I’m going to sit around all day in my
underwear and watch cartoons and draw comics and it’s gonna be great” – [but]
there’s a whole brochure of stuff that nobody tells you.
I always think back to nine or ten-year-old me, if I
time-travelled and went back, what I would tell him – one, it would be lay off
the pizza. Two, I would say “in the future, the same guy who plays Judge Dredd
plays Dr. McCoy, and it’s awesome, everybody’s happy” and three, I would sit
him down and go “here’s all the stuff you’re not going to be ready for when you
break into the business.” The expectations put on you, weird things – this is
going to sound like I’m complaining that my diamond shoes are too tight, but
career management – nobody teaches you how to manage a career.
I look at genuinely famous people, like politicians or
athletes or actors and actresses and I go “your life is no longer your own” and
you hope that there’s somebody somewhere that says “here’s what happens the
first time somebody takes your autograph and sells it on eBay, here’s what to
do the first time somebody stalks you.”
Comics fame is really dubious, but there are issues. We will
get stuff mailed to our house, with a letter from somebody saying “oh my god, I
love your work, could you please sign this comic that I sent you” to send it
back using some self-addressed stamped envelope. The first thing my wife and I
do is go “how did they get our address?! Close the blinds and lock all the
windows!” It’s weird stuff like that. We worry sometimes, what if some crazy
fan who didn’t get a sketch gets upset and decides to do something about it? Gosh,
it could happen anywhere!
Nobody tells you when you’re a kid “by the way, you’re going
to have to pay your own taxes.” In America, you’re responsible for paying your
own taxes, it’s what self-employed artists do. It took me the better part of 18
years to get my tax problems sorted out because I made so many mistakes early
on. So much stuff; that’s the hardest part.
What are your
thoughts on old school (pen and paper or watercolours) and new school (programs
like Illustrator and Photoshop)
I’ve got my feet in both worlds, because I draw on paper and
then I scan it and colour it in the computer. I don't care, to me, all that
matters is the final product. If your best tool is digital, then do it. These
purists say “it’s not really painting unless you’re using oil paints” and it’s
like “well, for you, but for this other person over here, they sing with a
stylus and Cintiq tablet.”
If you make art and you only use ketchup and mustard and you
only make these glorious Iron Man paintings by just squirting condiments onto a
board because that’s how you’re most comfortable, then do it. I used to try and
paint for real all the time, and it never works. Very frustrating. The minute I
started colouring digitally, everything gelled into place, because I think that
art medium, they should be like your shoes and your car and the chair you sit
in. They should be so comfortable, you’re not thinking about it. Imagine
walking somewhere and thinking about your shoes every step of the way – you
wouldn’t get where you’re going because you’d be going “oh, the left one’s a
little tight, the right one’s squeaking” – you wouldn’t think about where
you’re going.
As an artist, if you’re thinking about your tools while
you’re working, you’re not spending time being creative. You’re thinking about
the mechanics of drawing, which you should have worked out already. That’s why
every artist should just draw all the time; to get to the point where your
pencil or your stylus or your paintbrush is an extension of your hand and
you’re not thinking “oh, this paper’s fighting me today” or “I don’t like this
pencil” – you’re just sitting there and going “Batman is sad! He needs rain,
rain will make him seem sadder.”
That’s why I don’t care about the medium at all. When I see
a beautiful piece of artwork, I never seem to ask what the medium is anymore. I
used to be concerned about that; now I just go “that is a beautiful, wonderful
piece of art that tells a story.” Don’t care where it came from. Unless it’s
like “oh my god, I need to steal that, let me find out how that person drew
those clouds.”
What was it like
working on the Wonder Woman poster
for the Joss Whedon film that didn’t pan out back in 2005?
When Joss Whedon was making the Wonder Woman movie, I got a call from DC saying “you’re going to
get a call from Joel Silver”, who was the producer of the Matrix films, the Lethal
Weapon films. He was in Who Framed
Roger Rabbit, he was the crazy director at the beginning and I was like
“him, he’s calling my house?” So he called, and the character he played at the
beginning of Roger Rabbit was way
more normal than how he is in real life. I said to my wife, we were just dating
at the time, “this guy’s a cartoon!”
He then said “hold on, hold on, I’ve got Joss Whedon on the other line.” So,
all of a sudden, I’m in a conference call with the producer of The Matrix and Joss Whedon, and I’m
going “this is the weirdest day ever.”
I only had a weekend to work on it, I only had two days.
They had no costume design, and I knew this film was not going to get made
because they were both telling me what to draw and it was all different. Joel
Silver’s going “make sure she’s buff, make sure she’s really strong!” and Joss
Whedon’s saying “but not too buff!” I felt like a divorce attorney. When they
announced that it didn’t go through [it made sense]. It was fun, I wish I
could’ve drawn more of Wonder Woman, but there was no costume, there was no
actress, and if I had an extra day or so, I could have made it something real
special, but now it’s just “hey, I worked in Hollywood for eight seconds! Yay
me!”
0 comments:
Post a Comment
Note: Only a member of this blog may post a comment.