Not every day do I get the opportunity to interview people in the comic field. Just recently I received the opportunity to interview Jay Fotos. Jay is an artist and colorist who has been involved in the industry for over 10 years. He has worked for a few different companies such as IDW and Image Comics. In both of these companies he has done amazing work as an artist and a colorist. One of his recent ventures, the comic ’68 Zombies, can be purchased at www.68zombie.com.
You have been an artist and colorist for major comics, how did you become involved in the industry?
Many-many years ago I was hanging out with a few friends that were working with Todd McFarlane. At that time I was soaking in anything/everything, I was new to comics and the industry. It was at that point I got into the computer side of things, for I was more traditional pen&ink and (a real)airbrush. There was an opening for the coloring department at McFarlane’s office and from there I joined the “McFarlane Comic Boot Camp” The first couple years working with Todd was the best experience, it set me up for my career and I thank Todd and everyone I worked with at that time.
What was your inspiration for being an artist and colorist?
A the top of the list is Frank Frazetta, I remember opening up one of his art books in the 70’s and everything changed for me. His use of concept, color and motion is a true inspiration for me.
Who are your current role models in the industry?
I don’t have any favorites, now-a-days for me it is more of the respect of who is keeping their heads down with working, creating and getting stuff out there. So it can range from every spectrum of the art field.
Working as an artist and colorist what challenges do you experience?
Needing more hours in the day, I wear many hats and a lot of my time is managing projects as well. Their is a fine balance there, for as much time I would love “creating” I have to budget my time.
As a colorist do you take more direction from the writer or the artist when working on a comic?
I’m lucky enough that anyone I work with usually gives me full reign or collaborate. But of course if there are specific things, I usually have the script open reading it as I move along.
Do you ever have input as a colorist on how a character should be shaded and colored?
As mentioned above, I just do my thing or collaborate.
Do you have a favorite type of color such as bright neon colors or a darker color palette that you like to use?
I’m more of the earth tones, dark’n creepy palette.
You have worked on many Image comics, which was your first?
My first credited comic was Curse of the Spawn.
How did you receive that job?
Was helping with inks on that comic, then moved to the coloring side of the Spawn titles shortly after.
One of the many comic series that you have been involved with is the ’68 series. How do you prepare to illustrate and color those pages?
‘68 has been around for a while, we’re pretty comfortable with each other on production with these books so it’s more of a light switch when I start. I usually tackle each project as a whole, starting and finishing it with as minimal interruptions as possible.
What is your biggest challenge with the ’68 Zombie series as an artist and colorist?
Managing it, I would like more time spent on art than making sure everybody gets there stuff done 😉
You have worked on different ’68 Zombie stories. Do you have a favorite and why? Do you have any issues that you wish you could redraw or recolor?
I worked on every one we put out, a decent library, on our sixth volume now. If I had to pick a favorite, Jungle Jim, he is a lot of fun and a fan favorite. I wouldn’t go back on anything I enjoyed all of it and once it’s done, it’s done…on to the next.
Since you have worked on a comic that deals with Zombies are you a fan of Zombies?
Yeah, you can say I’m a fan of zombies for sure!
You have also had a wonderful career with IDW. What was your first comic that you worked on for them?
Yeah, over 10 years now I think. The first project I worked on was the movie adaptation of George Romero’s Land of the Dead with Chris Ryall and Gabriel Rodriguez. From there we moved on to many projects to name a few Clive Barker’s The Great and Secret Show and Locke & Key.
How did you land the job at IDW?
Hmmm, I can’t remember, it’s been a while. I’m sure I contacted Ryall bugging him for work or something 😉
Many people have seen your amazing color ability on the comic series Locke and Key, how did you come up with that color palette?
I think I just lean to a realistic moody palette, Locke & Key I think needed that on the nature of the story…I just go with my gut.
You also received the opportunity to do the colors for Teenage Ninja Mutant Turtles. How did that opportunity come up?
I’ve been working with IDW for years, I’m a fan of TMNT and mentioned I would like to do some Turtles and the gang at IDW let me at it on a few projects.
Many of my readers would love to know which turtle is your favorite?
You know what? I couldn’t pick! I like all of them, ha-ha!
How was your choice of color palate different in Teenage Mutant Ninja Turtles and in Locke and Key? How did you make the choice for the two works?
TMNT is a different entity/world plus it’s a licensed property so there are some guidelines to follow…each turtle is a different green, you know that?
In IDW you had the opportunity to work on the cover of Mars Attacks: Zombies VS Robots how was that as an experience?
I worked on a few Mars Attacks projects, most notable was the Mars Attacks Judge Dredd series, that was fun! I’m currently working on the Zombies VS Robots ongoing series, each issue is split into two stories. My half is with Steve Niles and Val Mayerik, such a fun title to work on!
What is your favorite comic that you have worked on from IDW?
Over the years I’ve been blessed with soooooo many cool opportunities with IDW. I think the most notable would have to be Locke & Key, it was a six year project and everyone involved was incredible.
In all the comic work you have done, what have you enjoyed the most out of being a colorist and artist?
I enjoy the “concept to creation” stages, I love collaborating with like-minded creators. I would do it all myself but I find it boring and un-motivating. Creating comics is a solitude profession and any opportunity to collaborate the better I’d say. ‘68 is a perfect example of that, we get to bring in other creators to share that and I find very rewarding.
What advice would you give to comic fans aspiring to be a colorist and/or artist working in the comic industry?
Keep at it and try to be somewhat universal on your skills, in comics you kind of need to know the whole process to produce books now-a-days, independent books anyways. Also maybe work with like-minded creators, comics is like having a music band, everyone feeds off each other so we can create great music.
