Tell us a little bit about your background? where are you from originally, etc?

My mother is from Malaysia and my father from Munich. Despite my appearance, I’m about as Aussie as they come.

Interests outside of comics?

Studied Psychology at Melbourne Uni. Taught and studied all sorts of martial arts for 17 years. I’ve been ex-Australian heavyweight karate champion and forms champion. I’ve done stunt work in feature and short films. I currently run a personal training studio. Otherwise a drink, some mates and a good film will keep me occupied when I’m not chained to the drawing board.

When was your first introduction to the world of comics?

From as early as I can remember I’ve had this massive box of comics. The best thing is that they were all torn and had pages missing. Without an end or start, each comic became a gateway for a million stories of how they might have ended or begun.

When did you start creating them yourself?

In 1993 I teamed up with another bunch of 17 year old guys to create an anthology comic called (wait for it): Anthology! Genius!!!

First publication (indie):

Well, Anthology was first. The last indie was “The Fisher” issue 3 by Phosphorescent comics. It was also where I began working with Annette Kwok, my brilliant colourist.

First publication (professional/paid):

My first paid US comic work has still yet to be printed! I’ve had a bunch of pinups printed. But there’s a solid amount of paid sequential work that’s sitting in a vault next to the Ark of the Covenant, a map of Atlantis and Osama Bin laden.

Have you had any formal art training or are you self taught?

I am completely self taught. I learnt life drawing from an idea I got in Bill Sienkiewicz’s sketchbook. He drew super fast sketches of people while on public transport. I proceeded to do the same until the restraining orders came in.

How did you go about launching your career as a comic artist?

The majority of comic artists aren’t consistent or professional. I really tried to bust my ass to be both. People notice, remember and recommend that.

I read  on the internet that your work has been likened to Kelley Jones and Brian Bendis, these are pretty big names in the comics industry, do you find that encouraging or does it just add to the pressure?

 It’s completely encouraging.  There is pressure, but I do my best work when I’m under pressure. Ultimately, I want to be an influence on my influences.

What has been your biggest struggle(s)/challenge(s) with your creative career?

Ennui, laziness and personal discipline. I am still yet to master these things, but I’ve got them shackled in a rickety box that’s seems to be holding.

What/who are your major influences in comics? Artists, titles?

Frank Quitely, Brian Hitch, Alex Ross and Adam Hughes. Quitely’s gift is that he makes any story he tells better. His current run on Superman is practically a bible to me. Hitch’s sense of scale in the Ultimates leaves Jerry Bruckheimer in the dust. I love the humanity that Ross brings to the characters. He is the only artist I’ve seen who stops non-comic book fans with his work. Hughes has the slickest line-work and sexiest characters I’ve ever seen.

What is your favorite part of the creating process? (concepts, pencils, inking, colour, the end?)

It’s a tie between finishing it ( what a buzz!) and working with models. You can’t beat working with beautiful women who are doing what you say.

How do you feel your environment (Melbourne and Australia) influences your work?

I love the people. I stop people from all walks of life in the street when I’m “casting” a comic. I’ve met heaps of really helpful people who never once pressed charges.

Being a comic artist in Australia, do you get much exposure in the rest of the world or do you need to self promote in order to get noticed?

You have to promote yourself, and the web makes it so easy. The hardest thing was learning to blow my own trumpet or get ignored.

Who or what you would say inspires your work the most?

I really dig working with models. I find most comic artists use archetypes to cut corners. Every angry person looks the same, all their women look the same etc. Working with models is like taking a sledgehammer to that headspace. I ask a model to be angry and 99 times out of 100 they do something I wouldn’t have expected. I then refine that performance further on the page. It keeps my characters fresh and human.

Have you had any opportunities in Australia to apply for Grants or funding for your work?

The comics I do are paid for by other people. No need to steal from the hands of people who actually deserve that money.

How do you keep yourself motivated and interested?

I try and find really good stories to draw. Those practically draw themselves (at 10 hours a page, you’d want them to). Otherwise a good artistic challenge or a fantastic promotional opportunity will suffice.

Describe your working environment:

UN standards dictate certain working conditions, and I’m grateful for that. I draw about 25 hours per week on top of the 50+ hours it takes to run my business. 50+25= No life for Jason.

What materials do you use to produce your work? How much is hand drawn vs computer?

I use my PC, Photoshop, graphics tablet, scanner and digital camera for pretty much everything. The web is an invaluable reference tool. Google images is my new best friend.

I do my layouts on paper. Digital is just too slow to capture the immediacy of ideas at this stage.

What is your perspective on the effect computer graphics have had on the comics industry?

It’s created a much better visual product. Things are done faster, so they can be done better. My joke is that illustration is simply art with a deadline: it’s done when someone else says it’s done. Art is done when you say it’s done.

Despite having more time, there’s stuff I can do with layers in Photoshop to represent different types of lighting that’s almost impossible to do by hand. That sort of stuff is really exciting.

What is the most rewarding aspect associated with comics? The most frustrating?

The most rewarding aspect is finishing them. I always seem to surprise myself. There’s almost nothing better than seeing a finished piece. People say sex is better, but I don’t recall. All I remember is deadlines.

The most frustrating part is the editorial process when too many fingers are in the pot. When you get edited by a committee and you just want to scream. They’re holding you up with inane trivialities while your deadline ticks ever closer.

Do you have any new projects coming up that you can tell us about?

I’m art directing a couple books. Sulphur features the art of (soon to be comics superstar), fellow Aussie, Andy Finlayson. It’s about a man who kills people to cleanse them of  demons. The problem is that the demons might not be real.

Another is once called Freaks by John Leekly who recently wrote and directed the film, The Prince of New York with Harvey Keitel.

Strange Harmonies written by JAn is an epic, smart, funny and witty manga.

I’ve just finished a bunch of Proximity Effect stories (www.proximity-effect.com) They’re beautiful short stories by JAn around one concept: when certain people come within proximity of each other, one of them gains incredible powers.

What do you hope to achieve over the next 5 years?

I want to be known for telling great stories. If see my name on a book you should know it’s going to be a great read. I’ve got a bunch of projects in the pipeline including a 19,000+ word thesis/novella/book on how to design comics. I want to be considered an influence by the people who influence me.

Any words of advice for those pursuing their creative goals?

Do it.

Put down the controller. Close that chat window. Close your email. Turn off the television. Uninstall that game. Say “no” to your friends. Leave dinner early. Turn off the phone. Stay up late. Get up early.

Leave the excuses at the door.

If it’s what you want, it’s all worth it.