Interview With June Brigman

In a male-dominated industry that sees talented artists burn bright and flame out fast comic artist June Brigman has been the go-to talent for both Marvel and DC for almost 20 years.  Not only has she filled in on almost every major title for both companies she was the co-creator of the first direct market comic title and has taught at the prestigous Joe Kubert School of Cartoon and Graphic Art for the last five years.  She was kind enough to spend a few minutes talking with The Dollar Bin about her career and where it’s headed next.

DB:  Where did you get your art training?

Brigman:  I studied art at the University of GA and GA State, but dropped out when I decided to pursue a career in comics. I felt I wasn’t learning anything useful. There weren’t any Sequential Art programs way back then, so I taught myself how to draw comics.

DB:  When did you know you wanted to be a comic artist?

Brigman:  When I saw Gil Kane at a comic book convention. He was drawing these great, dynamic figures with no model or photo reference. I’d always loved drawing, so this kind of work really appealed to me.

DB:  What was your first big break? 

Brigman:  I guess it was getting a job in DC’s new talent book. It gave me something in print that I could show in job interviews.

DB:  In 1984 you and Louise Simonson created what might be considered your best-known work, the series Power Pack.  That series is special for three reasons: 1. It was the first Marvel title to available through direct distribution through comic shops.  2.  It was Marvel’s first preteen super hero group. 3.  It was the first title for Marvel to be created solely by women.  How did the title come about?

Brigman:  The initial idea was Weezie’s (Marvel editor and writer Louise Simonson). On my first visit to the Marvel office, I met Weezie, who was then an editor. She told me about her idea for a group of super powered siblings and asked if I could draw children. I said sure and did some sketches that night. I showed them to her the next day and she was thrilled. I guess it was hard to find an artist who could draw children in such a superhero-dominated market.

DB:  How did you feel about Power Pack being part of the push towards comics being available mainly in comic specialty shops?  Did you know that was going to be part of the marketing plan when you created the title? 

Brigman:  I knew nothing about the marketing plan. But I wish it could have been on the shelf at check-out lines in grocery stores, where little kids could whine for mommy to buy it for them. Then they could look at the pictures, maybe read it, color on it, cut out the pictures, enjoy it the way only a small child can. You know, the way comics were meant to be enjoyed. Not tucked in hermetically-sealed mylar bags.

DB:  Why did Marvel choose only to solicit Power Pack through comic shops and were you worried it might hurt sales? 

Brigman:  I have no idea. I never thought about sales, though I probably should have. Not that it would have made a difference. Artists weren’t consulted about such things.

DB:  Have you kept up with what Marvel has been doing with the Power Pack characters and if so, what do you think of the changes?

Brigman:  Every now and then I hear about the latest version of the Power kids. I don’t know the details of what’s been done with the characters. But I’m always glad that they’re still out there and maybe another generation of readers will be into them.

DB:  Would you like the opportunity to work on the characters again?

Brigman:  Absolutely. I just finished a little seven page Power Pack story that will be in the third All Girl anthology. It’s written by Weezie and inked by a SCAD grad, Rebecca Buchman. It’s the most fun I’ve had drawing in years.

DB:  You have worked on a lot of different titles over the years.  What issue do you consider to be your best work and why?

Brigman:  Actually, this latest job, the little seven pager, may be my best Power Pack job. Teaching has made me a better artist, and age has made me more relaxed about the whole process of creating.

DB:  In 1995 you took over the syndicated strip Brenda Starr.  Why did you make that move? 

Brigman:  It was a very timely opportunity. The comic book business was imploding. Much better artists than me were scrambling for work. When I heard Ramona Fradon was retiring, I jumped at the chance to do the strip.

DB:  Is it more challenging to draw superhero comics or a comic strip like Brenda Starr? 

Brigman:  Drawing superhero comics is the most challenging thing I’ve ever done. The challenge in drawing a daily strip like Brenda is keeping it interesting, not just for the readers, but for myself too.

DB:  Do you find it as enjoyable as doing comic books?

Brigman:  No. Comic books are still my first love.

DB:  If you could be penciling any comic title right now which one would it be?

Brigman:  Power Pack.

DB:  Since 2005 you have been an instructor at The Joe Kubert School of Cartoon and Graphic Art, what do you do there?

Brigman:  I taught figure drawing to all the first year students. It was a huge challenge, but I loved it. Joe is a great guy, and he runs a great school. I currently teach at the Atlanta campus of SCAD, the Savannah College of Art and Design, also a great school.

DB:  You are also well-known for being able to capture the likeness of people in your art. When did you learn you had this ability?

Brigman:  I guess I developed a skill for likenesses when I worked at Six Flags Over Georgia amusement park one summer when I was sixteen. I did over 600 pastel profile portraits. I only made $1.50 a portrait, but the learning experience was priceless.

DB:  I know you do commissions for people as you did a great New Mutants piece for me.  How can people reach you and what is your general pricing?

Brigman:  Through Spencer Beck’s The Artist’s Choice website. My prices are very reasonable.

DB:  Thank you for taking the time to answer these questions and the Dollar Bin wishes you luck in the future.

Brigman:  Thanks for your interest!