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The Q&A: Nathan Fox

By Peggy Roalf   Monday August 31, 2015

Q: Originally from Texas, what are some of your favorite things about living and working in New York City?

A: The energy, and the people of this city, are insanely inspiring. I grew up outside of Houston and I always dreamed of living and working in NYC as a kid. I’m guessing it was the movies, cartoons and video games that did it? Can’t quite place my finger on any one reason, but NYC had always been the place I wanted to get to. 

In undergrad—my junior year—I got to study here for a semester at the New York Studio Program in Tribeca—I was hooked. It was all here. The vibe, people, art and so on. It’s been a love/hate relationship and a strong pull ever since. It was amazing to be here for grad school and I honestly feel I wouldn’t be where I am without SVA and NYC. The city has become like a second home and my first daughter was born here. It’s great to be back on a more permanent basis and amped once again by just walking out the door. Inspiring, strange and fantastically fascinating place! Above: Heroes & Villains for Entertainment Weekly.

Q: Do you keep a sketchbook? What is the balance between the art you create on paper versus in the computer?

A: I’ve started to keep a sketchbook the past few years, more so than I ever have before. Not sure why, but I’ve always had a hard time finishing any sketchbook. I love working on paper and miss painting and inking a lot these days so when I get a chance to work in my sketchbook(s) it’s a great release. I enjoy both mediums but most of my work has become digital out of necessity, a busy teaching and freelance schedule, and the joyful discovery of finding new ways to manipulate digital art. The Cintiq is amazing but my sketchbook and working in brush and pen on paper is still where my heart and hand lies. I think the digital work is informed that much more because of it (and I’m sure the reverse is true as well). Below: Dogs of War, Scholastic Graphix.


Q: What is the most important item in your studio?

A: I still try and match the medium, tools and approach with what best suits the story or assignment but over the past few years, with ever shortening schedules, digital production has taken over, and I would have to say my Cintiq is quickly dominating my studio use and time. Especially when it comes to pre-production work, underdrawing/sketches and comic book pages. I still find myself whisking away imaginary eraser bits while working on the Cintiq, but I must admit, it makes drawing faster, a bit more efficient and smoother. It took a bit of time to get used to but once I got the hang of it, it was like discovering a whole new medium and access.

Q: What do you like best about your workspace? Do you think it needs improvement, if so, what would you change?

A: I like that I have my own space and am able to work from home. Yes it needs improvement—it’s in my home! Ha! All kidding aside, I must admit I have a love/hate relationship with my home studio. It’s great to be there and not have to pay rent elsewhere or be gone all night on big projects. As a father it means a great deal to be close. But at times, it also has its pitfalls of access and distraction. I’ve never had a “studio” studio, or worked in a group studio post college, so I don’t really have much to compare it to but there’s plenty of time to find out what that's like some day (the 'teen years are just around the corner). Till then, I'll be enjoying the time and the love/hate I have working from my home studio. Below: Little Red & Big Kitty, MySpace.

Q: How do you know when the art is finished?

A: Oh, man. I guess I would say you just end up finding it in the work, or the deadline finds you. I wish I could say I have an idea how it should look finished from the get go but that’s not really the way it works for me. It all depends on the job, how into it you truly are once you get cook’n and what you discover along the way. Each project, story or piece is different, or at least for me it feels that way. I rarely know what a piece will look like, especially in color, until I get crank’n on it post sketches or pencils. I really enjoy the discovery and dialogue that happens between medium, imagination and the art as it’s being made in the moment. Being in the moment and moving with it has just become part of my process. It’s in those moments that those decisions give the piece its shape and finality. 

Q: What makes you happy?

A: My family, being able to draw for a living, movies, cartoons and video games, lasagna, a good cigar and bourbon, Legos, sitting in a hammock listening to the ocean, golf or soccer on a good day and hitting that zone while getting lost in the groove and imagination of a story, I suppose. There’s more but I’ll stop there. Below: The Seven Deadly Sins, Instant Winner Skateboards (Translation and calligraphy by Ai Tatabyashi).

Q: If you could time travel to any era, any place, where would you go?

A: First thing that comes to mind—Edo during the Ukiyo-E period of Japanese wood block publishing, to meet and attempt to apprentice with Taiso Yoshitoshi. I’m sure I’ll have another answer and location in a second but that’s what struck first. Discovering his work and prints at an exhibition at the Nelson Atkins Museum called Beauty and Violence, changed everything for me back in the day…[Ed. note: Find book here and here]. 

Q: What was your favorite book as a child?

A: As a child, I’m not sure books and I saw eye to eye very much. Where the Wild Things Are and Calvin and Hobbes I remember dig’n back then but not much more. Legos and video games and I, however—we got along quite swimmingly. It’s not like books weren’t around. My sister was a ravenous reader and I had some great English teachers that truly opened up the world of books and reading for me in high school (shout out to Mrs. Jenkins!)Once I did get into books, Treasure Island and Jurassic Park were the first two that really had an impact. Somehow that lead to Bukowski and Vonnegut by the end of high school, and by college I truly fell in love with reading, research and my eyes were finally wide open. Below: Selection from DMZ #56, Ghost Protector.

Q: What is the best book you’ve recently read?

A: Still hung up on Snowcrash by Neal Stephenson that I finished earlier this year on recommendation (I know, I’m a bit late to the Sci-Fi scene but damn, what a great read and visuals). Currently reading Sick in the Head by Judd Apatow and rereading Wired for Story by Lisa Cron. The Girl with All the Gifts is up next.

Q: If you had to choose one medium to work in for an entire year, eliminating all others, what medium would you choose?

A: Black and white, ink and brush. For some reason I fell in love with the infinite possibilities of the medium. It felt like attempting to control chaos and having to live, react and make in the moment. I just kind of fell in love with it all and the difficulty and sophistication of manipulating the brush and ink on nothing but an infinite void of white paper and possibility. Has always been the greatest challenge and most seductive thing to date.

Q: What is preoccupying you at the moment?

A: Work, deadlines and teaching... and how can I make more time to play before the summer’s over?

Q: What are some of your favorite places/books/blogs/websites for inspiration?

A: Riding the subway and people watching in NYC, The Daily HellerMediumNarrative.lyYimmy YayoCartoon BrewAlex Toth’s work, Kubrick and Hitchcock films, the American Museum of Natural HistoryIt’s Nice ThatNobrowThe Daily Good, Brain Pickings and many many more...

Q: What was the [Thunderbolt] painting or drawing or film or otherwise that most affected your approach to art? 

A: Not sure there is just one beyond the Yoshitoshi moment, but here are a few big ones. I actually yelled out NOOOOOOOOO! at the end of Brazil the first time I saw it. A Clockwork Orange. Watching Akira and then reading the comic. Rear Window and Alex Toth. Terry and the Pirates. Wes Anderson films. The day reference truly became reference and the first time I was able to draw a model in figure drawing class from the feet up and it worked. 

Q: What advice would you give a young artist about applying to an art school or college?

A: • Look for a school that is going to challenge and inspire you, your work and your artistic/creative/narrative voice.

• Great instructors and engaged, inspired students can define and elevate a program and motivate its students and peers. Look for that in any school you apply to or vett. Visit the school(s) you are looking to apply to if you can and speak to current students, Chair(s) and faculty whenever possible in person or online. Get to know the personalities and voices you hope to join. Below: Drawing on location for Golf Digest Masters Tournament assignment.



• Ultimately, you’re going to get out of it what you put into it. So earn it every step of the way! 

• Invest in yourself, your time, your work and your school wisely and honestly. It’s all in the work!

Q: What would be your last supper?

A: Hopefully ordering from Keen’s is an option. Ha! I’m sure when the time comes, I have no doubt that my stomach will have a few things in mind. Below:  First anniversary poster design for Bergen Street Comics, Brooklyn, NY. 

Nathan Fox is an award winning freelance editorial illustrator, an Eisner-nominated comic book artist and Chair of the MFA Visual Narrative Program—an interdisciplinary, low-residency graduate program in visual storytelling at the School of Visual Arts that places equal emphasis on creative writing and visual expression regardless of medium. Nathan lives and works in NYC. He is represented by Berstein & Andriulli. His editorial, advertising and comic book work has been published both in the US and internationally by various clients including EW, Wired, NYTimes, Esquire, GQ, The New Yorker, ESPN, Marvel, DC/Vertigo, Image, Scholastic Graphix, Heavy Metal and Chronicle Books to name a few. Nathan’s website and online portfolio can be reached at www.foxnathan.com and http://www.ba-reps.com/illustrators/nathan-fox respectively. And for more information on the MFA Visual Narrative program, and to view student works and upcoming events, please visit sva.edu/mfavn or their department site at mfavn.sva.edu

Nathan will be attending this year’s Small Press ExpoBaltimore Comic Con and New York Comic Con. You can follow Nathan on Twitter and Instagram: @nathanfoxy

See the SVA MFA Visual Narrative program in DART, here and here.

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