¦ Features ¦ Ian
Gibson Interview Part 1
Gibson is widely regarded as one of the best artists to grace 2000AD.
Responsible for some classic creations, including Robo Hunter, Halo
Jones, and many Dredd stories, it's always a pleasure to see his art in the
I caught up with
Ian to put him to the 2000AD Review grilling...
What tools do
you use on the job, and have you had any training?
The equipment has
changed over the years as I've either found something new that I like, or fallen
out with the quality of a manufacturer. Hell - I've been at it so long that I've
seen manufacturers and suppliers come and go!! ;)
Right now I tend
to use Winsor & Newton Designers' sable series 3A sizes 0 and 1 as brushes
and designers gouache with occasional watercolour airbrushing with a Devilbiss
Aerograph super 63.
As to training
- nope - I've had to figure things out as I've gone along, which probably explains
my erratic techniques! ;)
have a highly recognisable style. How did you develop this and do you have any
I think the style
has evolved over the years, and changes occasionally for strips like Annie
Droid for the Times, which I'm sure wouldn't be immediately recognised as
Gibson ( but what do I know? Maybe that's more Gibson than my Dredd work..? )
artists we like are the ones who influence us, as I think there's something in
what they do which triggers our own view of the world. But I wouldn't say that
I could copy anyone else convincingly! ;) Victor De La Fuente is one of my favourite
artists and I love Don Lawrence.
For better or
worse, you're still heavily associated with Halo Jones, regarded by many to be
the best ever 2000AD strip. Are you happy with the ongoing interest in the series?
I'm very happy
that Halo had such an effect. After all, that's why I asked Alan to write a girl's
story. I thought it would make a difference.
Jones finished with a fairly ambiguous ending - but in retrospect this ended the
series on a perfect note. Was there ever any intention to continue to a 4th series?
Alan and I had
planned out Halo's future to a conclusion, but the series was interrupted by the
dispute over copyright allocation, where Alan wanted to have all writers, like
John Wagner et al, get their fair dues after streaming out a steady supply of
genius for so many years. That's what I heard anyway - but I can't speak with
authority as I wasn't involved in the negotiations.
I have tried to contact
Alan over the years, but with no luck. I have my own ideas of what could happen
in the next couple of books that I'd have liked the chance to run past Alan, but
I think he's discarded the story from his future.. (?)