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Artwork by Adam Graphite (image supplied) Artwork by Adam Graphite (image supplied)


Bears and Dads. Beards and Muscles.

Artwork by Adam Graphite (image supplied)



I caught up with artist Adam Graphite to talk drawing, illustration, and muscle-dads.

When did you discover and start to explore your passion for drawing and illustration?

I’ve drawn my whole life, in various ways. When I was a younger, I was heavily into comic art — this was during the boom of the early to mid-nineties.

I got to the point of applying and discussing some projects with publishers, but when it turned to — “Can you draw like Jim Lee? Can you draw like Todd McFarlane?” I lost interest.

I went to school and studied fine art and figure painting, which is my primary job these days, but I always kept drawing comic art as well — particularly gay comic art.

The men you draw seem to be generally muscle daddies or muscle bears — what is it about that aesthetic that appeals to you?

Hair and beards. But seriously, I’ve studied anatomy for years and years now, so the muscle part is just ingrained in me. I do try to make sure to not go too far into the idealised side that Tom of Finland popularised — I wouldn’t want to try and compete with him. But in my work, bellies and small cocks are just as popular as abs and hung cocks.

Who are some of your artistic inspirations or heroes?

On the comic side, Jim Lee, Tom of Finland, Frazetta, Olivier Coipel, Gary Frank, Moebius, Kris Anka, Sean Murphy, the Zaffinos, Barry Windsor Smith.

I tend to follow good artists religiously. A good story with bad art just turns me off every time.

You’ve worked with Dale Lazarov and Class Comics, How does that collaboration process work?

With Dale, it’s been receiving plots from him — there are no words, so just lots of descriptive details, and then I obsess over every little thing and never get anything done. I can be a very slow artist because I just redraw things so many times, and then edit and do new thumbnails and redraw again.

It allows me to experiment, but I don’t get as much work done as I’d like. Despite the subject matter of my work not always requiring it, I do like to push myself to experiment with storytelling and composition.

Class Comics has been very similar. The work I’ve done for them has been much shorter stories though, so easier to get through for me.

Which are some of your favourite sci-fi characters to draw? Does anyone rate higher than Wolverine?

Cable. Cable is tied with Wolverine. Marvel clearly needs to hire me for a Cable and Wolverine book. Hulk is up there too, and old Nick Fury, and Batman.

When people come to you for commissions, what sort of pieces are they generally looking for?

I’ve just started doing a few commissions recently, but it’s still pretty new to me. So many illustrators sell their work so cheaply that it’s hard to compete, but I do enjoy working with others, so now and then it works out. Usually they come to me with a character they like and a general idea. The more original and crazy the better.

What are some of your goals and ambitions for the remainder of 2018?

Finishing up some work I’m doing with Pablo Greene for his How To Kill a Superhero books, and finishing my next book with Dale Lazarov.


Also, surely drawing more bears and dads.

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Beach Boys in the Buff



Antonio En La Playa by Marc DeBauch (image supplied)
Antonio En La Playa by Marc DeBauch (image supplied)

I caught up with artist Marc DeBauch to look at his series of work titled Beach Boys.

When did you discover and start to explore your passion for art?

I started drawing and painting when I was three years old. Before I was five, I remember creating a crayon drawing of the Sinking of the Titanic on the rough plaster of the living-room wall of my parents’ house. It was impossible to remove — my parents weren’t happy with me, but after that they provided me with enough art materials to pursue my creative interests without destroying their home.

Lonnel on the Beach by Marc DeBauch (image supplied)

When did you start specialising in painting naked men and creating erotic art?

It was 36 years ago when I started painting male nudes and selling them in a local gay book store. Then, in 1995, I entered two paintings in the Tom of Finland Foundation’s Emerging Erotic Artists Contest. I was won first place, which opened the door for my art career, as I was immediately approached by galleries and magazines that wanted to feature my art.

This gave me the confidence and notoriety to exhibit and sell my work at erotic art fairs and gay events. At that time, the internet was just emerging, so my friend Andrew created a website for me, which was a fantastic tool to get my art out to people around the world.

Aussie Boy by Marc DeBauch (image supplied)

You’ve written that Tom of Finland is one of the major influences on your work — when did you first encounter the work of Tom of Finland?

I remember seeing Tom of Finland’s art in a porno magazine my friend had in high school. I was just amazed at the sexual tension, outrageous anatomy, and attention to detail in Tom’s art.

This was back in the early 1970s, so gay porn was just emerging legally in magazines and films. At the time, I wasn’t talented enough to draw the human figure accurately. But, I was fascinated enough to want to try. My sister’s boyfriend was a photographer, and he gave me his dark room equipment — back then you actually had to develop film, as there were no digital cameras.

I talked a friend into posing naked for me while jacking off, and I developed the film and made some prints. I was 14 years old, photographing another 14-year-old boy. It was very exciting creating my own porn! Unfortunately, my dad — being supportive of my art — wanted to see the photos, and of course I couldn’t show him. Not only did he not approve of gays, he didn’t want his son to be gay. He would have probably hit me if he knew I was a homosexual creating gay porn! So, I destroyed the photos almost in front of him, while saying — “The photos didn’t turn out and I would show him better work at another time.”

I was scared and freaked out. I knew I was self-censoring. But I also realised that if I was going to create erotic art that I would have to do it in secret. When Tom of Finland began drawing naked men, he also had to make his art in secret. I think most erotic artists learn to be very careful about choosing the right audience to exhibit their work to.

Trevor on the Beach by Marc DeBauch (image supplied)

Where do you draw your inspiration from?

My inspiration comes from people I know. I’ve been fortunate to see and meet many beautiful men in my life. Capturing their beauty and illustrating them in a unique way, is my goal.

What’s your creative process?

My creative process is different every time I paint. Sometimes an idea for a painting just pops in my head and I try to find model to pose for a photo to match my vision — that’s often the easiest route.

I rarely work from a live model. My paintings take so long to create — I often work all night on a painting — so, finding a model to sit for that long of a period and whenever I want them, is impossible. I use the photos of my models as reference.

Often, I look through hundreds of images and piece things together in a collage. It’s more like a jigsaw puzzle — lots of pieces missing, and my mind fills in those missing pieces with an arm from this model, the chest from another, the dick from another, the face from another, and so on, until I have the entire figure. But then I have to decide how the light and setting will pull all of those puzzle pieces together.

I have dozens of photos that are my references for every detail of plants, animals, rocks, furnishings. I sort through a constant mess of photos — gradually eliminating those references as my brain digests the information and my brush puts it on the canvas or paper.

The paintings that form the Beach Boys series are beautiful — what are some of the challenges in creating beach scenes like this?

Trying to find a balance between the setting and the model is always a challenge. I don’t want the model to overpower the beach, or the beach to feel more important than the model. I want my paintings to have a natural feeling, like you could be at the beach with my models.


Who are the men featured in the paintings of the Beach Boys series?

The men in my Beach Boy series are mostly friends that have modelled for me. Sometimes I find a photograph of a model that someone else has taken, that inspires me to use it as a reference pose to work from, then I find one of the photos of a beach that I’ve visited and I try to recreate a similar pose in a drawing that will eventually become a painting.

What do you hope that people feel when they look at your work?

I don’t want to just give the viewer of my art an erection, I want them to feel like they’re part of the painting, that they want to invite the men in my paintings into their homes, their beds, their dungeon, their car, their locker room, or the bushes for a hot fuck, butt licking, cock sucking, ass spanking good time.

I hope to excite the viewer visually, emotionally as well as spiritually. It’s my goal as an artist and sexually active gay man to paint erotica that continually challenges the views of people who oppose sexual freedom. If my paintings assist the viewer in discovering where they are in the spectrum of human sexuality, then my aim is reaching its target.

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After the Swim by Marc DeBauch (image supplied)

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