1) Tell us a little about yourself. Who are you and what do you do in the world of comics?
I'm Pete, I try to draw stuff good.
You want more than that?
M'kay.
I'm Peter Gilmore, creator of such indie successes as The Little Umbrella Girl, Rocket Gal and Jack the Ripper: Vampire Hunter.
I've been working in crowdfunded indie comics for around 6 or 7 yrs and was ( to the best of my knowledge) the highest grossing UK indie creator in that space for the past couple of years and will hopefully stay in that position this yr too.
To date I've worked on The Case of the Littlest Umbrella, Rocket Gal & the Mole Men of Mars, Wart the Wizard 1 & 2, Super Dead and Jack the Ripper: Vampire Hunter 1 & 2 as well as covers, illustrations, character designs, logo designs, etc on a ton of other books.
I draw, colour, letter everything myself (that way, there's only myself to blame) and unashamedly worship at the altar of the legend that was Bernie Wrightson (disrespect Bernie and I'll hunt you down like a dog in the street).
The majority of my work now is with the ever talented Mandy Summers over at Stuntman Comics (head there for back issues and news, kids!).
I just finished up the art on Jack the Ripper: Vampire Hunter 2, with mine and Mandy's next big project kicking off soon.
2) How did you get into comics creation?
I used to draw my own comics back in the 80s and even tried to get work with publications like 2000AD, but in all honesty, I just wasn't good enough and life took me in a different direction. A part-time job as a chef while at art school turned into a full time job and aside from the occassional paid art gig here and there it all got put on hold.
Around 10 years ago I decided to give professional art another crack, quit my job and started doing illustration and design jobs (and even some 3d work in video games) for a few years, then I discovered the burgeoning indie scene centered around the (much maligned, mis-represented and outright lied about) Comicsgate movement and crowdfunding model.
I kicked around a few ideas and eventually started drawing my own book called Moon, a retro style sci-fi horror book. I posted a few pages online and it all kinda spiralled from there, working with folks like Nasser Rabadi, That Umbrella Guy, Wyatt Holliday and my main partner in crime Mandy Summers, as well as doing covers, illustrations, etc for more folks than I can remember or name here.
3) What is the hardest part about making comics right now?
Getting noticed. Getting your work out there is easy, cos of the internet/Social media, but there's SO many other wannabe comic creators out there, you really do need something special to stand out... and even then it's a long hard slog and very few folks are genuinely willing to help unless there's something in it for them.
It's also about more than just making comics, you need to also be an entertaining personality.
It really isn't easy, the hours are insanely long & you'll want to give up every other day, lol.
4) What makes indie comics so important to the survival of the comic industry?
It's where the new ideas come from and where a lot of the new talent is. It's the place where you can experiment with style and content and where the genuinely exciting happens.
5) The end goal for most comics people used to be to get to the mainstream, the big two. We’ve seen some creators have major success in the indies, do you think the end goal for creators has changed?
Not necessarily, I think it's always been a case of 2 different types of people. Those who want to create new and different things of their own and those who just want a job drawing Spider-man or Superman.
Also, lets not forget that it wasn't necessarily always about the "big two", that's a very American way of thinking. One of the BIG golden geese over here was always trying to get work for the likes of 2000AD, a much more attainable goal for a Brit.
Opportunities for indie creators, through crowdfunding websites, webtoons, etc are on the rise, so I don't think end goals have really changed, it's just there's more end goals available.
6) If you had give one piece of advice to new creators, what would that be?
One piece? Nope, I probably have a hundred and every single one of them may or may not apply to each person listening to/reading them. Ummm, ok, here's one for aspiring comic artists - If you find a comic artist you aspire to be like/emulate, don't look at their work, look at the work of the people that inspired them... and the people that inspired them, etc, etc. Try and distil it back to the building blocks that lead to their style.... oh, and don't be afraid to look outside of comics for inspiration. Personally I draw on everything from Van Gogh to Giger and from Gustav Dore to Salvador Dali.
Is that advice? I guess so...
7) How have comic cons and comic stores changed since you started in the industry? Do you feel that going to cons is still worth it?
I never have and probably never will table at a con. Not in the current climate. I've tried a couple of times, even at local smaller events, but some dude who played a monster on Dr Who 25 years ago, or a reality TV star seem more important to organisers than someone who actually makes comics... plus I'm a middle-aged, straight white dude, so, well, let's not get into that one.
8) How would you say the UK indie comic scene compares to the US scene?
There's definitely more diversity of style and content over here. The UK (and Europe) seems more willing to invest in and create comics outside of the usual superhero fayre of the U.S.A. I'd put that down to a diet of 2000AD, Asterix, TinTin, etc.
That's not to say there aren't outliers doing that kind of stuff in the American indies, but it's much rarer.
I think we also give less f**ks about politics.
9) Are there any challenges that new creators might face now that you didn’t encounter yourself when you started?
The quality bar for anyone trying to break in has risen massively over the past 5 years. Yes, you can still have some success if you're not Bernie Wrightson or Alan Moore, but if you are, you'll obviously have way more of a chance.
So, yeah, the competition is fiercer than it's ever been, with unheard of indie creators laying the smackdown on even the most seasoned of professionals.
10) How easy is it to get press coverage of comic book projects now? Has it gotten better or worse to do?
Just by the sheer volume of stuff out there it's harder, plus there's so much political bullshit weaving in and out of everything on all sides, taking precedent over actual books, that it's all one hellish minefield of stupidity.... if you get press from one website, you're a hatemongering Nazi... if you get it from another, you're a woke commie.
So yeah, it's gotten worse and people on both sides of the idiocy need to knock it off and promote/cover good books irrespectively of any other perceived factors.
11) Where can people find you if they want to support you?
Follow me on twitter @PeterGilmoreArt and slap a big fat bookmark on www.StuntmanComics.com ... you can also whisper my name gently on the breeze and I may or may not appear...Probably. Maybe. Whatever.
<insert flash and puff of ninja smoke> GILMORE OUT!!!
