Interview with Melvin Ylagan,
Psychosis! #1 cover artist
as conducted by Chris Buchner

What first got you into art?
I can honestly say that I have always been a fan of comic art and Japanese cartoons from the age of five. I remember drawing my over weight uncle gulping down a six-pack; my parents knew that it was time for them to get me my first art table. Also, I remember liking fantasy and heavy metal magazines; I even discovered puberty through them. I remember thinking: “Wow, I have never seen so many naked girls at one time!” I was too young to buy actual adult magazines at the time, so I just stuck with illustrated adult magazines, and even emulated some of them by drawing perverted parodies of the stories.

How did you decide this would ultimately be your career?
It just happened without even realizing it, really. I guess I am a true believer of destiny.

What first got you into comic books?
I remember re-discovering the passion for comics on my way to the club Limelight one night, and this bouncer was just giving away these free comics, so I took a bunch of them home. I have to admit that I was one of those kids who quickly became a fan of Image Comics when they first emerged. I remember driving my car in the dead of winter just to get all these titles that Image put out, but out of all of the hot artists during the 90's, no one appealed or connected to me more than [current Marvel Editor-in-Chief] Joe Quesada’s art.

I recall seeing his art for the first time at this arcade in Queens where I worked in at 21. It was Deadpool on the cover of Wizard Magazine that was drawn by him. I thought, “Wow, I don’t remember comic books ever being this dynamic.” Some kid must have left it there so I took it home and became more inspired. First, the free comics at Limelight, now the Wizard Magazine! The stars where telling me something. From then on, I vowed to impress that guy one day; and I did. Also, my drive grew even more after I first fell in love with a woman. I just had to write an exaggerated story about it, and comics were the only way I knew how, so that story became Gothis.

What is your favorite character or title out there?
Always changing. I’ve always liked both Marvel Comics and DC Comics characters, although I am currently a fan of Budd Root’s Cavewoman, I guess [because of] the fact that it’s sexy. I guess I still have that naughty side in me…

When doing one of your pieces, what’s the thought process you use to approach them?
I guess by envisioning it first; that really helps gives me a clear direction of where I want to go with the piece. I take the same approach when working with art directors; I try to visualize their scripts first.

In what media do you usually work?
All water based stuff. I get a lot of people asking me about techniques, but I guess that I am still one of those artists who are pretty secretive about my craft. I know others are open about it, but I guess I really see it as a business secret in a way. I think [comic artist] John Bolton is the same way. I guess that I am definitely a water based/mixed media kinda guy.

What is your medium of choice?
Mostly gauche, water-colors and some markers.

Where did you go to study art?
I studied at the School of Visual Arts, in Manhattan.

How did you get your first job?
After attending my second [convention] in New York City, I was offered by Adult Only Comics to illustrate a story; although that book never got published and the publisher, Jake Jacobs, still owes me my original pages back. They served as samples that I eventually ended up showing Joe Quesada at his book signing in Queens at this store called Chameleon Comics. I remember him really liking [them], him and [writer/artist] Jimmy Palmiotti laughing their asses off. I remember Jimmy saying, “This kid does his home work.” Then Joe called me to draw backgrounds for “Ash” the following day. I quit my arcade job that same day. So Joe was technically my first professional boss.

What are some of the jobs you have done since you began?
Since then, I have done political cartoon stuff through job postings in school, [was] introduced to Mathew Webster through a mutual friend who was publishing role playing games at that time, I did portraits here and there… Just about anything that I could get my hands on artistically.

What exactly does a commercial illustrator do?
I guess the word really means the marriage of art and commerce. I have to agree with my current boss, and the man responsible for unlocking the doors for me in advertising, the one and only Neal Adams. Just like his beliefs, I believe that a commercial artist will illustrate anything for money. Mainstream comics [themselves are] a form of commercial art.

Tell us a bit about some of your current and ongoing projects.
I will stay loyal to Neal Adams’ Continuity Studios after discovering that I am really not a mechanical monthly type of artist. I will always be experimental with my art therefore I feel that advertising gives me the chance to do something more lucrative, while developing my art. I am still a work in progress; maybe one day I can finally produce a better cover for my publishers and writers in comics. I will keep doing covers, short stories and my own title, “Gothis”, because they give me the chance to constantly learn.

How did you get involved with the Comicbook Artists Guild (CAG) and Guild Works Productions (GWP)?
Well, out of all the people who I have met in the past, [GWP co-founder] Mark Mazz was always one of the few who showed genuine interest in my art. I think that it’s a natural thing for us to work together.

What was your approach to doing the cover for GWP’s Psychosis! publication?
I remember sitting with the CAG crew in a restaurant. I was always eager to do a cover for them, so when they gave me a little run down of the story an image popped into my head right away. It really happens sometimes. Almost similar to the chemistry you would have if you’re in a band.

What was your favorite experience to date? Why?
Always my latest piece because I personally feel that I’m getting better each time.

What was your least favorite experience? Why?
I guess nothing because everything in life is a learning experience, and the same goes for art. You could either get better, or worse…it’s your choice.

Do you prefer working in comics, or as a commercial illustrator?
I have to say that commercial art is more lucrative for me personally, or maybe I’m just not as good as the other guys who can turn out monthly books. Those guys are really the modern day versions of Jack Kirby. I have to say that making a second career out of comics is ideal for me, because I see myself more as an illustrator. I’m glad I know that now.

What do you think sets your work apart from many of the others working in the same field?
Discovering my personal voice will set me apart. That comes with age and experience. Everyone starts off copying someone. I did that, now it’s time to just be me.

What advice would you have to give to people looking to break into the field?
By having a clear idea of how good you really wanna get, and by always comparing yourself to your favorites. Not in a way by copying them, but by trying the best you can to intellectualize your work and theirs, and finding a personal way to making yourself a much better artist. It all sounds wrong, but it’s how it is in any competitive field.

What would be your dream project if you had the opportunity to do it?
One is definitely an issue or a cover of Conan the Barbarian, since I have always been a fan. I also wished that illustrators these days got paid as much as the illustrators in the past, but those glory days are over. Too bad.

If you were a superhero, your catch phrase would be:
Keep doing everything you love and never stopping, including sex. Although that doesn’t come by very often since I’m single now…

Finally, take a moment to pimp your Web site.
Check out www.melvinylagan.com. Thank you and good night!

Top© 2006 Atomic Media Group