Section 15:  Everything Else

"Whenever I have time between illustration jobs, I try to work on a personal series of illustration called 'Recess', which is more or less about childhood and ghosts," continued Jean of his other work outside the comics industry. "I also contribute to an online project, www.politewinter.com with my friend, Kenichi Hoshine."  (vi)

You've done some stunning illustration work, do you have any particular favourites that you're most proud of? (iv)

Whatever feeling of pride I receive from my work vanishes after a short while - it's never good enough. However, the series of pictures called "Recess" is probably my strongest work to date, even though it's sadly neglected due to time constraints.

Do you have an all-time favorite piece of work that you created? (x)

I don't, but my sketchbooks contain some of my favorite moments.

Besides art, you play the trumpet as well; when did you start playing? Do you ever use the trumpet as a way to relax when you’re having a rough time with a drawing?  (i)

I got my first trumpet in the 4th grade, but didn’t seriously start playing until high school.

Whenever I have a tough time drawing, it’s usually because I haven’t warmed up enough. The same goes with playing the trumpet.

Finally, my last question of choice - what do you do for fun? How do you relax JJ?  (ii)

I play the trumpet. I just bought a harmon mute which makes that corny "wah-wah" sound. It's just so incredible.

I always find it interesting when really talented artists also find time to pursue musical endeavours, having learned to play the trumpet and piano, is music an important factor in your life?   (v)

I really enjoyed playing music when I was growing up. I had piano lessons for about 11 years and then developed an unnatural fascination with the trumpet in high school. Perhaps my obsession with the trumpet was a bit misguided, since it prevented me from doing any art. Now it's the other way around.

You've recently completed some colouring work for Paul Pope which appeared in SOLO issue 3, is this your first time working over the art of someone else? When you both have your own distinctive styles do you feel self conscious about what's enough and what's too much? (v)

Yes, it was my first time taking on 'art chores' in a book, but I would say that I worked 'under' Paul's art. He told me that he wanted a different approach to how his work was coloured in the past, so I didn't feel any pressure to work a certain style.

You're also working on an animated series for the Sci-Fi channel with Ralph Bakshi, can you tell us a little about that?  (v)

Hollywood is a dirty beast. My friend, Chris McDonnell, brought me in to work at Spumco studios, which Ralph had commandeered for this project. Ultimately, the cartoon never went anywhere, but it was fun working with Ralph nonetheless.

Having mentioned Bakshi, he is currently making his move towards the comics world by adapting the Wizards property. Will you be involved with that as well?  (v)

Chris McDonnell is handling much of the art direction/editorial duties of the project, and has invited me to do the cover.

Are there any projects or characters you've yet to do that you'd like to provide a cover for?  (v)

Actually, I've never thought about that. As projects come to me, I try to make them work within my sensibilities.

When you've got one side of your art appearing in galleries and another on comic covers do people find it odd that you're associated with the comics medium?  (v)

I think most of my audience is savvy enough to appreciate these different contexts, especially since many artists are developing their vision in all kinds of media, from comics to illustration to fine art to movies to toys.

I think it may have something to do with a higher regard for Pop-AS-Culture, which is great because not only does that lead artists like Brian Ewing and Tara McPherson to comics but also allows very talented artists to do fun stuff, like a painting about ninjas, and still be regarded as high art.  (v)

And even within the context of "high art," there's "lo-brow art." It's all dictated by a nebulous mix of market forces and critical appraisal . . . Amazingly, some of my Fables covers will be in a group show at the Shore Institute Contemporary Art in March along with artists like Philip Guston, Cindy Sherman, R. Crumb, Takashi Murakami, and Yoshitomo Nara.

You won the 2004 Eisner award for best cover artist. How important was this to you? (iv)

It was a great honor to be recognized after working only a few years in the industry, and to have met Will Eisner before he passed recently.

Who are your top three characters you love to paint?  (ix)

Snow White, Rose Red, and Bufkin

Aren’t you afraid that you might be labeled as a “comic book artist”?  (xii)

No.  That’s why it’s such a great time to be an artist.  A lot of illustrators are doing comics now and maybe vice versa.  You can do fine art, illustration, comics, make toys, create your own fashion label.  You can do anything you want and the boundaries are broken down.  You make the culture, especially nowadays with the accessibility of artists’ work and how broad your reach can be in terms of your particular vision.  It’s international.  Just these last few years it’s been amazing to see where things are going and it’s all for the good. 

What direction would you have gone if drawing hadn’t worked out for you?  (i)

I really can’t imagine it “not working out.” If you’re dedicated, it’s not that difficult to find a job drawing. Advertising agencies, production companies, video game companies, and Special F/X studios keep a lot of artists gainfully employed.

Being primarily a freelance comic artist, how often do you collaborate with other artists on the same project? Is this important, or would you rather create solo?  (i)

I haven’t collaborated with anyone yet in comics, except to use a writer’s script as a springboard for the image. I’d rather be in control of the whole process. However, I just started a personal project with a friend of mine on my site, so we’ll see how it goes.

Which sites online have kept you coming back for more?  (i)

Design portals like pixelsurgeon keep me sober. It’s amazing how easy it is to find good work out there now. But generally, I try to keep my surfing to a minimum unless it’s for research.

You’ve been in the U.S. for nearly your whole life, but you were born in Taiwan. Has your family kept the Taiwanese culture a part of your life? Do you plan on visiting there at anytime?  (i)

I’ve been back in 2001 and 2003, and I’m going back this winter as well. Most of my extended family is in Taiwan; my father grew up dirt poor and sold homemade brooms at the market, and he’s the first in a family of nine siblings to move to the US. So I’ve learned all about the immigrant’s dream of success through hard work and sacrifice, but my Chinese is execrable, and it’s something that I’ve always wanted to improve.

Your style is distinctive. Obviously, that creates demand. Are there any drawbacks? (xi)

I've had to learn to say “no,” which saddens me a bit – ideally, I'd love to make art for everyone who asks, but there are only so many hours in a day.