When I saw Juan Doe art for the first time was on the 198 serie!
Something of really cool like this
There was time ago and now Juan Doe is famous in comic universe but he continues to be an enigmatic figure...
Today we can read more about him in my interview with the bombastic Doe... waiting his new project , the New Legion of Monsters!
Juan Doe..you are a real enigmatic figure in comicon! Who real is Juan Doe?
Well, I'm just a simple guy from a small town who enjoys making art. I grew up with a great appreciation of comics and spend much of my current time working at the craft. The lifestyle doesn't allow for much interaction out in the open, which may be why it seems like there is an enigmatic element to who I am. I'm just enslaved to the work and trying to learn from the experiences every time I work on a project. It is a very fortunate situation to be able to work on something that you're passionate about and as long as I keep running into interesting projects in the world of comics, I'll continue to give my time to the medium.
Comic Industry met you with 198 covers that were "propaganda like" covers! Can you tell us how did you decide to use this idea?
The 198 project was a great introduction into the world of comic books. The premise of the story allowed us to create a set of covers that would pay homage to the propaganda posters of war time influence. At the time I was doing a lot of poster/propaganda work and it fit what Marvel was trying to do. The wonderful thing was they gave me the freedom to do whatever I wanted, it was an incredible experience designing—not just the imagery of the series—but the type and logo treatment as well. It was a dream to execute those covers from start to finish, never imagining it would lead to a more fleshed out career in comics, something I am very grateful for.
Your style is amazing... a sort of pop-abstract-graphic art style... can you explain us what do you think when create something?
The approach I use to creating something has a closer relationship to that of a DJ who samples and mashes up different styles of songs and melodies to create a new experience of music listening. It is a parallel method I employ with art styles, although not consciously. The results usually end up surprising me and that is what I think has helped me have a bit of success with my work, the exploration of the unknown.
Being comfortable in one particular style can definitely be a good thing, it affords reliability if people understand what they will be getting. If enough people enjoy a specific style and the artist can be supported by this enjoyment, they may never have to change their approach and can continue on a path of true mastery of a particular style. Since my interests are that of a varied nature, my adherence to any predisposed approach to image making is also varied. Music is very analogous in the work, it's more rhythmic than technical, more fluid and organic. I've tried to eliminate the barriers of imaginative constriction by challenging my expectations of what I can produce and searching for an alternative solution that can only come about through variational analysis.
You also made comics like Fantastic Four and Scarecrow... how different ids the process behind a comic and behind a cover?
It is alternately different. Covers are like being star actors in a movie, you come in for 2 hours, shoot your scene and go home early. Sequential work is the massive production staff that has to work behind the scenes to make the movie happen. Originally, I had no intentions of doing panel to panel comic work. For one, I wasn't sure I could do it. Two, I respected the sheer amount of work that needed to be committed to the process of creating a comic book. And three, it needed to be a special project to pique my interest. Then came the Fantastic Four: Isla de la Muerte, the story that Tom Beland pitched to Marvel. Once I heard the premise and that they were looking for an artist I jumped at the opportunity to be involved. I managed to volley my case and was able to secure the full art duties; It was my first sequential work and I threw myself into the book with a lot of energy.
It ended up being a tremendous and life changing experience. I acquired the fever for the story telling process and that's what kept me going. Soon after Fantastic Four: Isla De La Muerte I was offered the Batman/Scarecrow project for DC. The main difference between the books was that I had developed a shorthand with the cyphers of comics and the Scarecrow book was done at a much more efficient rate than the first Fantastic Four book.
What is your next project?
I'm currently finishing the last cover for Iron Man Legacy #11 and my next project is still classified but it will be another fully illustrated book for Marvel, due out in the Spring/Summer schedule I believe.
And what is your "dream project?
I have had the opportunity to work on a variety of "dream projects" and each time a new project comes my way the dream gets better and better. The awareness of the brevity of life makes everything I do now more personal and nutritious. I take it as it comes and as long as it remains a positive force I'll continue living the "dream".
What is for you the most difficult comic character to drawn and why?
So far, every character I've had the opportunity to work with, has had qualities that interest me. I usually immerse myself in the study and history of a character I'm working with and try to understand as much as I can about their origins and persona. Once I find a hook for something, it becomes very natural to illustrate any given character.
Tell us a Juan Doe secret :)
As an orphan, I spent 7 years living in a carnival and trained as a professional-acrobatic-magical-clown.
and finally I can show you the hi-res version of his Thor exclusive for Cup of Pino readers:
See you later for Italian version... ops... in mattinata versione in italiano!