While Greg Staples was still a teenager at Dronfield Henry
Fanshawe School ,
he recalls a teacher telling him his cartoons were impressive but there was no
money to be made from a career in illustrating.
His mum was similarly keen to discourage the hobby: she
banned him from having his favourite comic, Judge Dredd, in the house, saying
it was too violent.
Almost 30 years on, the 43-year-old is one of the world’s
most respected fantasy artists. He has drawn Batman and Spider-Man best
sellers, created sci-fi music video sets for A-list bands like Muse and Scissor
Sisters and was costume designer on this summer’s Brad Pitt blockbuster World
War Z (“Brad was cool,” he nods). At just 19, he became the youngest ever
illustrator to work on Britain ’s
biggest superhero series, 2000AD.
Now, today, in a home studio not more than a mile from his
old school, he is starting perhaps his most eagerly anticipated work yet. It
is, his mum might not be happy to hear, a Judge Dredd comic. He is
hand-painting a special edition 60-page story written by the character’s
original creator John Wagner.
“The fee for this,” he says, “has just bought me a new
Mustang.”
Sometimes, it seems, teachers and parents can be wrong.
Greg, of Victoria
Street , is a success story every bit as riveting
as those comic books he illustrates.
His talents have won him awards and fans in equal measure.
His body of work includes comics for American giants such as DC and Marvel,
several films posters (notably for the 2012 Dredd film), illustrations for
fantasy games such as World Of Warcraft and costume designs on a range of
movies like 2009 thriller Solomon Kane.
His original paintings sell for thousands, while one of his
works – an image of Judge Dredd fighting Judge Death – was considered so iconic
by bosses at 2000AD they had it made into a statue. Fans, meanwhile, get in
touch every day asking for both advice and autographs.
“Always boys,” he notes dryly. “You get a lot of fans as a
comic book illustrator but, if you’re after girls, you’re very definitely in
the wrong industry.”
It is, in short, some success for someone who admits:
“Ultimately, I’ve just always like drawing muscles.”
Greg, a father-of-one, says he painted as soon as could hold
a brush. His talent was prodigious even as a youngster – “I was the kid who
turned up to my GCSE art exam with 10 minutes left and still got an A,” he
remembers.
But after that advice from his teacher, he started training
to be an architect with a Sheepbridge firm.
“It was okay,” he says. “But I remember the boss seeing my
drawing board one day. It was covered round the side with all these comic book
illustrations. He said: ‘You’re a talented kid but you’re in the wrong gig’. He
was right.”
So, he worked up his portfolio and, in the summer of 1990,
got a train to London to attend a comic book
convention where the editors of the Britain ’s biggest titles were on
hand.
“The queues to meet them were so big,” he explains. “There
was no way I could get to the front. Then I saw Simon Bisley who is one of the
best illustrators in the world. He was having a beer but I begged him to look
at my work.
“He took one glance and said: ‘Come with me’. Then he took
me to the head of the queue to meet the editor of 2000AD. They more or less gave
me a job on the spot.”
That Monday, back home in Dronfield, he was phoned with his
first commission: draw a Judge Dredd story. “It was every dream I ever had come
true,” he remembers.
He’s had a few more turn to reality since.
Among the work he’s most proud of is lesser- known pieces
such as a character called Serra Angel (“an angel with a blue background and
angel wings”) and illustrating a 1995 computer game called Loaded for Sheffield
company Gremlin Interactive.
His work with the band Muse won Kerrang’s Video of the Year
in 2004; while Greg himself was named world’s best artist by Fantasy Magazine.
Around the same time he set up his own visual arts business,
Ark VFX, based in Broomhill, with three other Sheffielders (“I was sick of
other people making money off my talent”), and then left the company to go
freelance in 2006. “The other three wanted to go more into video games where I
still preferred films and comic books,” he explains.
Since then he’s kept working and kept taking opportunities.
When he was asked to work on World War Z he jumped at the chance.
“My job was I would be given a brief for how a costume
should look then I’d have to design something which looked cool,” he says. “I’d
do the illustrations, walk down the corridor, pass them to the costume makers
and in the morning they’d be there, made real. That was pretty cool.”
One thing he’d still like to do is a comic book of A
Christmas Carol by Charles Dickens.
“I think that visually it’s amazing,” he said previously.
“You’ve got this old London
town, you’ve got these smells, all this atmosphere, great characters and
caricatures.”
But, for now, at home in Dronfield – he’s lived in London
and Cambridge and worked extensively in the US but moved back to the town in
2007 – he’s determined to keep improving.
“Whenever I’ve ever thought I’m getting to the top I’ve
always told myself I’m nowhere near,” he says. “Because the moment you lose
that ambition, you’re no longer striving for perfection. And if you’re not
striving for perfection, what’s the point?”
Peak perfection
Greg Staples has lived and worked all over the UK and US – from London
to New York City , California
to Cambridge .
But his home and his heart have always been in Dronfield, he says.
The 43-year-old – who has drawn such cityscapes as
Superman’s Metropolis and Batman’s Gotham City – left the Derbyshire town in
his 20s but came home six years ago. He lives in Victoria Street .
“Why?” he muses. “I love the place. I love the people. I
love the community feeling. I love the pubs. I’m settled. I like being on the
doorstep of Sheffield and the Peak District.
The colours you get there are something else. As an artist, it’s inspiring.”
Cool guy
Brad Pitt, Jonathan Ross, Matt Bellamy, that dude from
Hung...
“A lot of the time I’m working with these guys so it’s not
professional to get star struck,” he says.
“You can’t take instructions from
Brad Pitt and then ask him for a picture. That’s one way of guaranteeing you
don’t get work again.”
Yet he says it’s still a big thrill when big stars
appreciate his work.
“Brad was cool,” he says. “We didn’t hang out but he was the
producer on World War Z so we had to talk quite a bit. I think he appreciated
what we’d done with the costumes.”