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

Artists

Bears and Dads. Beards and Muscles.

Artwork by Adam Graphite (image supplied)

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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.

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Also, surely drawing more bears and dads.

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Artists

The beauty is in the details

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Art by Kurt Walters (image courtesy of Boner Magazine)
Art by Kurt Walters (image courtesy of Boner Magazine)

Our friends at Boner Magazine in Berlin recently spoke with artist Kurt Walters.

Torsten Schwick from Boner Magazine asked Walters about his series of work focused on naked men.

How did you first get into painting?

Both my grandfathers were artists. My American grandfather was a graphic designer at Mobil Oil Company. My German grandfather, who unfortunately I never got to meet, was a successful painter in Munich.

My early love for Renaissance artists like Raphael, Botticelli and Fra Angelico was also a big influence. Their aesthetics and the beauty of their work inspired me to create.

Where do you find your models?

Thanks to the flood of images on the internet, I can sit for hours in front of the computer and look at pictures. I look at everything — from antique paintings to porn images — each image has the potential to inspire me.

I look at images until something catches my attention — usually it’s a specific detail that fascinates me. Sometimes it’s the perspective of the photograph, or the way that the model’s body is positioned, or the way that their head is inclined. It might be something about the light, or the composition that draws my eye.

I then extract the image — play with it, manipulate it. I have a slight dyslexia, so I see some images as being distorted.

What sort of men do you usually feature in your work?

I look for models who have something unique and special. The typical or generic beauty ideal of today is very uniform. I like to see an interesting nose, a penetrating look, or someone that’s not aware of their beauty.

Dive into the world of Kurt Walters

Originally published by Boner Magazine

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