Can you describe a script for a comic strip? Is it like a film script...or more like a
storyboard…what are they like?
(A typical script would go something like this:)
Frame 1. Commercial artist's studio. Arthur seated at desk facing John who stands in front of him.
John: And what about . .
Arthur: Look out! Behind you.
FX. Creak.
Frame 2. And so on. With 2000AD sometimes Full Page asked for.
Frame 1. Description of setting/action. The writers I worked with all keep this to a minimum number
of words. The setting only included if and when it changes. Sometimes a viewpoint is asked for.
Description of any newly introduced characters.
Dialogue. If called for.
FX. ‘Sound effect’, e.g. BOOOOM, if called for.
I, with the eventual compliance of the writers, came to regard the script as a guide
rather than an instruction.
How long were you given to do a strip for Look-in? How long does it take you
to draw 1 page generally?
I think I got a script two weeks before the editorial needed it, but they lied about the deadline and I
delivered it in a week. Strips based on animated series usually took a day per page. ‘Realistic’ and
coloured pages took two days. Other artists I know were faster. A days work was something like
nine hours with no lunch break but many cups of tea. I was on time even though aware that they set a date earlier than they really needed it. Not all artists were as good at deadlines as I was. The weekly script one week in advance was the norm even when later I had two strips running concurrently in Look-in.
Were you given much time to prepare before a brand new strip, would you have done test
drawings or things like that – to get used to drawing the new characters?
A new strip usually got the same time frame as the one before, script a week earlier than deadline
given. I never did practice drawings. I was good with deadlines and always thought that was one
of the reasons I was kept on so long.
storyboard…what are they like?
(A typical script would go something like this:)
Frame 1. Commercial artist's studio. Arthur seated at desk facing John who stands in front of him.
John: And what about . .
Arthur: Look out! Behind you.
FX. Creak.
Frame 2. And so on. With 2000AD sometimes Full Page asked for.
Frame 1. Description of setting/action. The writers I worked with all keep this to a minimum number
of words. The setting only included if and when it changes. Sometimes a viewpoint is asked for.
Description of any newly introduced characters.
Dialogue. If called for.
FX. ‘Sound effect’, e.g. BOOOOM, if called for.
I, with the eventual compliance of the writers, came to regard the script as a guide
rather than an instruction.
How long were you given to do a strip for Look-in? How long does it take you
to draw 1 page generally?
I think I got a script two weeks before the editorial needed it, but they lied about the deadline and I
delivered it in a week. Strips based on animated series usually took a day per page. ‘Realistic’ and
coloured pages took two days. Other artists I know were faster. A days work was something like
nine hours with no lunch break but many cups of tea. I was on time even though aware that they set a date earlier than they really needed it. Not all artists were as good at deadlines as I was. The weekly script one week in advance was the norm even when later I had two strips running concurrently in Look-in.
Were you given much time to prepare before a brand new strip, would you have done test
drawings or things like that – to get used to drawing the new characters?
A new strip usually got the same time frame as the one before, script a week earlier than deadline
given. I never did practice drawings. I was good with deadlines and always thought that was one
of the reasons I was kept on so long.
What sort of references were you given to draw from; did you get to watch
any episodes before they aired, things like that?
There were stills from the shows and pin-up pics supplied. Only once did I see a pre-airing episode.
Can’t now recall what show. Watched it with Angus who I remember as being less than impressed
with the quality of the screenplay. The Beatles strip took Angus and I to Liverpool to get
some original research and pictures.
You mentioned really enjoying the work on Danger Mouse, is that the most favourite thing
you’ve done, Look-in or otherwise?
Danger Mouse was most fun. Doing the Judge Anderson psi for 2000AD the most engaging.
Finding ways to evoke the mystery and other-worldliness of that was a challenge I enjoyed and
it gave opportunity to try new approaches and techniques.
You mentioned various ‘in-jokes’ and personal things in the Danger Mouse strips, are
there any you can remember or can elaborate about?
Some of my additions to Danger Mouse were just ‘punny’ background signs and adverts.
Pretty sure it was in this strip that I, for a long time put in a hidden verbal or pictorial references to
my girlfriend. Nobody knew but her. I can tell this now because looking at what little
Danger Mouse artwork I have, I could not find the insertions so I don’t imagine anybody else will.
In other strips I have included the names of some of the Look-in editorial staff. That was picked
up by some well informed and avid reader. Don’t think the staff ever mentioned it. The “ad-libbing” was for
my own amusement. I don’t recollect any response from the staff and I don’t imagine the readers were
even aware of it and wouldn’t know to whom the references were if they did.
Did any of the other artists get any strips you wish you’d have been given?
I was keen to do that merman strip whatever it was called, and did a
sample page to try to win it but Mike Noble got the job. He was doing
Robin of Sherwood too of course.
(n.b. Arthur was of course referring to Man From Atlantis.)
any episodes before they aired, things like that?
There were stills from the shows and pin-up pics supplied. Only once did I see a pre-airing episode.
Can’t now recall what show. Watched it with Angus who I remember as being less than impressed
with the quality of the screenplay. The Beatles strip took Angus and I to Liverpool to get
some original research and pictures.
You mentioned really enjoying the work on Danger Mouse, is that the most favourite thing
you’ve done, Look-in or otherwise?
Danger Mouse was most fun. Doing the Judge Anderson psi for 2000AD the most engaging.
Finding ways to evoke the mystery and other-worldliness of that was a challenge I enjoyed and
it gave opportunity to try new approaches and techniques.
You mentioned various ‘in-jokes’ and personal things in the Danger Mouse strips, are
there any you can remember or can elaborate about?
Some of my additions to Danger Mouse were just ‘punny’ background signs and adverts.
Pretty sure it was in this strip that I, for a long time put in a hidden verbal or pictorial references to
my girlfriend. Nobody knew but her. I can tell this now because looking at what little
Danger Mouse artwork I have, I could not find the insertions so I don’t imagine anybody else will.
In other strips I have included the names of some of the Look-in editorial staff. That was picked
up by some well informed and avid reader. Don’t think the staff ever mentioned it. The “ad-libbing” was for
my own amusement. I don’t recollect any response from the staff and I don’t imagine the readers were
even aware of it and wouldn’t know to whom the references were if they did.
Did any of the other artists get any strips you wish you’d have been given?
I was keen to do that merman strip whatever it was called, and did a
sample page to try to win it but Mike Noble got the job. He was doing
Robin of Sherwood too of course.
(n.b. Arthur was of course referring to Man From Atlantis.)