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Lust by CLX (image supplied) Lust by CLX (image supplied)

Artists

Doctor Jack is fuelling our fantasies

Lust by CLX (image supplied)

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Interview

I caught up with CLX to talk about how his obsession with the TV series Lost is fuelling our fantasies.

Did you watch the series Lost when it was first on TV?

I watched the entire show in French when it was broadcast in my country. Like millions of viewers, I was totally hooked at the first episode. I remember thinking it was like no other TV show that I’d seen before. So many characters, so many different stories, so many questions along the way.

It was the first time that I’d seen Matthew Fox, the actor that plays Jack. To me, he’s a hell of an actor — expressing so many emotions with his face, his eyes. Plus, he’s also very good-looking.

At first I was blown away by the story-line. I guess the fantasies came later.

When did you start to explore those Lost fantasies in comic-book form?

The first ideas came during 2008, while the fourth season was airing in France. The project didn’t start as a comic at all. I wanted to produce some kind of animated comic — an animatic in animation. At that time, I was working for an animated studio, doing some compositing, special effects, and some storyboards. It would have been a storyboard with sound and music, so to speak. Similar to the trailer that I created.

The problem is that it would have taken so much time, time that I didn’t have back then. More importantly, I didn’t have the skills to draw the stuff I had in mind. It would have required lots of pre-production, training in anatomy, and art techniques. For a number of years I put the project to one side.

When I started to finally work as a cartoonist, a comic artist in 2010, I was appealing to all audiences with comic strips and humorous stories. A project like Lust was still way beyond my league.

But I was lucky enough to meet people that pushed me in the right direction, people that believed in me. Suddenly, the project became a reality.

Why did you decide to use Patreon as your publishing platform?

I launched a Patreon page prior to the Lust comic. I realised that this was a very good way to share my art with mature audiences who know what they get to see and want to support the artists who usually never get paid for their training, or the huge amount of hours required to prepare, produce, and draw illustrations and comics. I hope to be able to make a living from my art at some point, I know fellow artists who succeed in thanks to the Patreon system, so why not me? It’s a long process, but I draw comics so I know how to be patient.

How long does each page take you to create?

Since the beginning, the plan has been a page a week. It depends on the content of the page. If there are complicated, tricky panels, poses, or lots of backgrounds then it may take longer. I draw some other things too, still training my art skills, or working on other comic series. But Lust is the main project.

The writers of Lost said that they had the entire series and all of its story-lines mapped out before they started filming. Have you got the full narrative of Lust mapped out, or are you seeing where the characters take you?

Originally, I had a whole story in mind. The beginning was all written. When the reboot as a comic occurred, I saw the story as five books. The first two comic books were written, the third is in process. The next instalments are ideas and concepts mostly — they can evolve. If the series is a success, I have room for more than five comic books. I’d like to go further, but I need readers and patrons along the way.

But your characters can drive you to places you never thought you’d go. I added characters, I let them make me draw things I’d never thought I’d be drawing. It’s something I’ve discussed several times with Patrick Fillion from Class Comics, who has created so many universes and characters. It’s amazing how at some point your creation seems alive and takes control of the story, or the posing, the layout. As I’m drawing the latest pages for the second chapter of Lust, I can’t believe where the action has taken me. I sometimes think that I’ve let myself get carried away, but actually I think that it’s the characters that have led me down this path.

You’ve now published Chapter One of Lust, what sort of feedback have you had so far?

I’ve had great feedback — the hard work and years of training have paid off. I was afraid of getting praised only for the hot action, and hot bodies. But the readers are very enthusiastic about the emotions that the characters are giving, as well as the story-line. Readers have also told me that they find the comic very arousing, which is what I set out to achieve.

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Who is your target audience for Lust?

My target audience is gay men. Mature people who are interested in gay porn stories, gay eroticism. I was expecting a very small audience of gay men. What I didn’t expect is that straight women would go for it too. Even straight guys, like comic geeks, find the project very interesting and worth supporting.

It’s a pretty arousing encounter between Jack and what looks like Hugh Jackman as Wolverine. Did you intentionally build Wolverine into this story or am I just projecting my fantasies?

This is the original concept of the series — I wanted that every single character coming into Lust to be inspired by a famous character or person. There’s an explanation in the story-line, but far later and with major spoilers so I can’t say any more. When I was developing the original idea, I wanted to put my fantasies into images, storyboarding them, giving them life.

I really like how hairy the guys are, and you’ve got some great detail in the way that you’ve drawn these characters — even the way that you’ve drawn their cocks feels very authentic. What sort of technique do you follow to create the illustrations?

The technique is quite simple — mechanical pens with different ranges of hardness on grainy thick art paper. I use lots of photo references, often up to four or six for some panels in order to create the pose I have in mind. I used to need lots of references for the shading, but lately I’ve realised that I can get rid of these for usual posing. I’ve learned so much in the last couple of years.

The guys that inspire me are often models, photos I find on social networks. I look for lots of erotic or porn poses as I need naked bodies in every sort of position to help me create the comic.

You’ve begun publishing the pages of Chapter Two via Patreon, how far are you going to take the story before publishing the complete Chapter Two?

The people who support me on Patreon get to see the pages one after the other before anyone else. Each chapter takes about seven or eight months of work before it can be published as a comic book.

Through the interaction with my supporters on Patreon, they drive me into some ideas, thoughts, or directions that I hadn’t previously thought of. I really enjoy their comments on my artworks, it’s amazing to get such feedback and interactions with the readers.

Chapter 2 is nearly done — I’ve just published page 19, and I’m currently working on page 21 now. The second comic book will go to print in October. I’m already in pre-production for Chapter 3 — it’s really exciting!

Review of Lust — Chapter 1

To be honest I was never a huge fan of the series Lost — I wasn’t watching it regularly enough to be able to keep track of the multitude of characters and the complex story-lines. But I was a huge fan of Dr Jack as played by Matthew Fox and I love erotic comics.

Lust by CLX ticks a lot of boxes for me — incredibly evocative and arousing drawing, and this first chapter gives us Dr Jack being properly fucked which is everything I wanted out of Lost.

Often, the best erotic drawing doesn’t need a lot of dialogue alongside it — it fuels your imagination and you can fill in the blanks as to the heat and the connection between the characters. CLX cleverly gives us enough words to guide us through the narrative, but doesn’t let the text distract from the action on the page.

I’m a huge fan of the super-hero erotic comics by Class Comics — with their characters masculinity exaggerated in every aspect — but in Lust, CLX is giving us something that feels a bit more real and a bit more authentic. I love how hairy he draws the guys, their bodies captured with a realism that’s compelling.

The detail of the drawings is what really pushed me over the edge — the veins on a cock-shaft, the folds on a foreskin, the way that a hairy fuck-hole looks as fingers are pushed in or a cock penetrates. That’s quality erotica.

I can’t wait to see where this story takes in the chapters to come.

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Artists

Beach Boys in the Buff

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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.

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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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