(Story by Steve Boyd)*
If you’re looking for a job as an artist in the comic book biz, and Doug Klauba’s resume is in front of yours… go home. A traditional artist with experience in the artistic side of advertising and marketing, Doug has made his way into the comic book industry one gorgeous brushstroke at a time. His artwork can be found exploding from the covers of several Moonstone publications, such as the Phantom, Zorro, and Kolchak: the Night Stalker. Mr. Klauba’s work can also be found in Dynamite’s “Project: Superpowers” #0 alongside comic greats Alex Ross and Steve Sadowsky. Doug sat down with CCL for 13 questions to discuss his artwork, his background, and which summer movies he’ll be waiting in line to see. Comic Collector Live: It’s a pleasure talking to you again, Doug. Tell us a little bit about your beginnings as an artist. Were you always interested in illustration? Doug Klauba: I have always been interested in illustration, more specifically from Storybooks as I was an avid reader. I was reading stuff like Treasure Island and other swashbuckling adventures, and Dr. Jekyll and Mr. Hyde which forged my way into another interest of mine: monster movies. So, I then began reading and collecting Famous Monsters magazines, which introduced me to all kinds of film nostalgia including “The Man of a Thousand Faces” and Buster Crabbe’s, “Flash Gordon” serials- and my interests were like a wild fire continuing to move on. Each new interest presented itself to another genre. So, I was clipping movie poster ads and illustration out of the newspaper and magazines. I responded to anything that was visually exciting to me and I was also collecting paperbacks for the cover artwork. My exposure to all of this “stuff” eventually lead me to Classics Illustrated and EC Comics, introduced to me by my father and uncles. I used to drive my parents crazy with all the paper in my room, tacked to my walls and glued to my school folders. I’d spend endless hours copying the images and drawing my own movie posters, comic books and classic story scenarios. CCL: Who was the first to recognize your talent? DK: I guess most importantly it was myself who noticed that I could draw. I was having so much fun and noticed that every time I drew, I continued to improve. Then it became fun and challenging and I started filling volumes of sketch pads and folders with drawings. Obviously, it was my family who saw what was going on and supported my interest but it was also my Uncle George who was an illustrator, designer and fine artist who really took an interest in me, which as a kid, made a lasting impression upon me. I wanted to be like my uncle and have my art published in the newspaper. My uncle, George Klauba is now a renowned fine artist for his Moby Dick series of paintings. DK: If you’re asking professionally who was the first, I would answer that it was my instructors in art school, specifically Thomas Blackshear and Drew Struzan who I studied under. They really instilled a passion to strive for the best in my art. I admire them, I bonded with them and their work continues to be a source of inspiration. CCL: What is the most important aspect you try to capture in your illustrations? DK: I like to create a story in one image. Conceptually, I like to make the viewer feel a connection either to what is going on in the piece or the character(s). I like to set the mood or drama with the correct color, design and composition to invite the viewer in. Dramatic lighting heightens the adventure either subtly or with added excitement. I also like to design the painting cinematically with other interests that lend itself to the subject matter like; art deco, art nouveau, film noir or pulp art. CCL: Your artwork was almost MEANT to grace the covers of comics. When did you first get involved in the comic book industry? DK: Well, thanks for saying that I’m “in the industry”, when in reality I think- honestly, I’m still breaking in. I still do more mainstream illustration work than comic book work and the mix between magazine or advertising assignments with comic book covers and sequential work keeps both sides of my drawing board fresh. There’s never a dull moment. If my work is MEANT to be on comic covers it’s because comic book covers were always an influential part of my formative years as a young artist. When I work on a comic book cover, I am not only drawing on illustration influences but the legends like Kirby, Eisner, Steranko, Romita and currently artists like Alex Ross, Paul Pope and Steve Rude. Obviously, I’ve mentioned only a small list of influences. Anyway, it was a lot of these influences that are actually friends of mine working in the comic book industry that questioned why I hadn’t pursued comic books yet. I hadn’t really considered working inside my hobby or incorporating comic publishers into my list of clients until 6 or 7 years ago. When Alex Ross’ MARVELS was released it actually started my thinking process of doing painted comic books, even though I had been following Dave McKean’s books. MARVELS actually got me back into reading comics more seriously and I started incorporating more heroic influences in my illustration work. That sort of thing added to my benefit as I started to get requests to do more fantastic themed projects from publishers and ad agencies. DK: It was then through a casual conversation with my comic shop manager when she found out what sort of art I did and she introduced me to Moonstone Books EIC, Joe Gentile. Joe and I really hit it off and I was quickly assigned covers that eventually lead toward me being known as Moonstone’s signature cover artist. When it was time for a new cover artist for The Phantom, Joe asked if I’d like to do it. That sort of exposure led me to working with DC / Upper-Deck and Dynamite Entertainment. CCL: Your artwork can be seen on the covers of several comics published by Moonstone Books. What brought you to this publisher? DK: I noticed that they had some great titles that other publishers weren’t offering and they were titles and characters that I would definitely pick up with my current subscriptions along with titles by Marvel, DC and Dark Horse. Moonstone Books have grown incredibly since then but I was a Phantom, Kolchak, and crime noir fan and they were publishing them. Since then they have continued with some of my other favorites like, Zorro, The Spider, Doc Savage and The Avenger. I ended up being in the right place at the right time as I was assigned those cover assignments. In many cases, I was involved in working with the licensors in developing Moonstone’s “take” on their properties. CCL: Are you drawn more towards the classic, pulp characters as opposed to more spandex-wearing super-heroes? DK: I don’t think so. It might seem that way because currently I am associated with the classic characters, which I don’t mind. But, aside from my interest in King Feature characters like, The Phantom, Flash Gordon and Prince Valiant, I am just as much a fan of Spider-man, Dare Devil and Batman. I like them all, I read them all. I’ll pick up whatever I’m interested in- depending on what sort of mood I’m in. I loved Darwyn Cooke’s The New Frontier, Guy Davis on Sandman Mystery Theatre and BPRD, as well as John Cassaday on X-Men and Bryan Hitch on the Ultimates and Fantastic Four. DK: Man, there is just so much great stuff out there to read! CCL: You are also responsible for some incredible covers and Phantom projects from Moonstone. Do you have a favorite? DK: Thanks. I don’t know if I have a favorite or not. But, I like the cover for issue #4 which I think conceptually is kind of cool seeing The Phantom’s fists from a viewer’s perspective. The last thing you see before he knocks the lights out of you. CCL: Who is the one comic book hero, if given the chance to illustrate for a comic cover that you just couldn't pass up? DK: Okay, sorry but this is a two part answer. My all time favorite, Spider-man. And my all time favorite golden age hero, The Sandman. DK: And I am forcing myself to hold back from not giving you more answers of more heroes that I would love to paint. CCL: You must attend a lot of comic conventions. What do you enjoy most about going to the shows? DK: I have gone to a lot of conventions, probably more this year than most because I had Project: Superpowers to promote. I enjoy meeting and talking to people at the shows. Either it’s someone who enjoyed my work on a book or it’s talking to other creators and making new friends and seeing friends you haven’t seen since the last show. CCL: What's your all-time favorite comic story? DK: The Amazing Spider-Man #33, The Final Chapter. Not only the physical stuff that Spider-Man was going through trapped under all the iron and steel, but the emotional stuff with Aunt May and the loss of Uncle Ben. I can never forget as a kid cheering for Spidey as he succeeds pushing and lifting the giant machine off to heroic triumph, and as an adult crediting that story with the masterful pacing of the drama, adding the water beating down on Spidey and the brilliance of Ditko. This was the story that truly made Spider-man my favorite comic book hero. I think I own three copies of the book plus reprints… CCL: What's the first movie you plan on waiting in line to see this summer? DK: Iron Man! DK: My son and I have the summer planned for the first day releases: Iron Man, Speed Racer, Prince Caspian, Indiana Jones… Then I’ll go to see The Incredible Hulk, Hell Boy 2, Dark Knight, and many others…. another great summer of films. CCL: You've done artistic projects for many companies. Which one, if any, was the most difficult to do? DK: I once had an assignment for three large illustrations to finish in a weeks time, Friday to Friday, for Leo Burnett Advertising in Chicago. They were all for a promotion for a Whiskey company and they were all crowd scenes in bars and/or restaurants. It was grueling and I was working late nights and some all-nighters. The paintings were delivered on time for a Friday morning meeting and the creative team was thrilled with the paintings. They were so happy that they commissioned another painting of a crowd scene for their presentation on Monday. So, just when I thought I could clean up the studio and have a restful week end… another deadline. It was difficult because I had to design the scenes, the restaurants/bars to there specs, gather all my references, present the sketches, make any adjustments or revisions and then paint against the deadline. CCL: An aspiring artist approaches you with a portfolio in hand and asks you to review his stuff. What advice would you give him to be successful as an artist? DK: I always recommend on attending an art school. Learn to draw, paint, art history and business classes. Go into it with a goal. Either you’re going to be an illustrator, a comic book artist, concept artist or fine artist. Stick to your plan, get as much as you possibly can out of the school. Take all the classes that would benefit you, your art and your goal. Work hard, make it your life and stay positive. Develop a portfolio and always be prepared to show it when opportunities arise. And follow your heart. Do what you love to do and always continue to grow in your craft. For more information on Doug Klauba, please visit the following sites: www.douglasklauba.com www.moonstonebooks.com www.comiccollectorlive.com *(Steve Boyd is the Site Director for Comic Collector Live, and plans to be two spots in line in front of Mr. Klauba to see Indiana Jones on May 22nd).