



Today, Artist August brings you an artist who spent years as one of the best artists to fly under the mainstream radar. Hailing from Spain, Juan JosÃ© Ryp broke into the American market through Avatar Press, contributing heavily to the company’s signature brand of no-holds-barred sex and violence, including high-profile collaborations with Steven Grant and Warren Ellis. Since last year, he’s drawn Wolverine: The Best There Is for Marvel, bringing his Darrow-esque hyper-detail to a now-trademark mix of high-impact action, gorgeous women, and wild-eyed insanity.

He graciously took time out of his schedule to answer some questions — in Spanish, which is why we had to bring in Herb Mumford to translate. So thanks, Herb! Anyway, whether you’re new to Ryp’s work or you’re an O.G. since the early days, check after the jump for his thoughts on his technique, career, and just what it’s like drawing some of the goriest comics around.

When we first spoke, you mentioned “Ryp” was a nickname from your days in a punk rock band. How did you go from punk rock to drawing comics?

JUAN JOSÃ‰ RYP: Oh, no! Nothing important. It was the 80’s and we were young. Everyone wanted to do a little of everything: we wrote, we drew, we played music… in short, the cathartic effervescence of being 15 years old. I was given the nickname RYP by one of the members of the group, playing with the initials of my last names (Spaniards have 2 surnames, and on occasion they are separated by the letter “y” [which translates to the word “and” in English]) and the acronym R.I.P. (Requiescat In Pace, in English: Rest In Peace). When I started to dedicate myself professionally to comics it seemed like a good idea to take it up again as an alias and, well, so far… I think it has brought me luck!

Spain produces a surprising amount of art for the major comics companies in America…

JJR: In Spain, there have always been many high-quality artists. For years in our country, there were practically no national publishing companies to work for as a professional, because most of us work for American, French, Italian markets… If you want to dedicate yourself to comics and are Spanish, you are doomed to be an emigrant. On the other hand, for years, colleagues and friends like Carlos Pacheco, Salva Larroca and Pascual Ferry have opened a door for Spaniards to the large American companies with their high quality and professionalism. I think we owe them a lot, for what they have taught us and for leaving a great impression on American publishers.

I can’t think of many artists who fill panels with as much visual information as you. How did your style become so detailed?

JJR: Hmmm! Well, I like it. I’ve always payed close attention to details when I draw. When I started, people would say, “you need to get rid of details, you need to speed up the drawing…” In the end it turned into a trademark of my style. I wouldn’t know how to explain why, maybe it’s because I’m myopic or because I don’t know how to stylize… I admire someone who can relate the same without needing to include the details. I don’t know how to do it any other way.

Because your figures are so carefully rendered, I must ask: do you use models for your drawing?

JJR: Models? [Laughs] No, my God! No, no, no way. Sometimes I’ll look at some photographic reference, and, well, I’m very observant… but no. I think that the fast pace imposed by an American publisher is incompatible with “artistic frills” such as the use of models… at least in my case.

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What about digital methods — or are you a pen-and-ink guy?

JJR: I’m very “artisanal.” There are no great mysteries in my technique. When making comics, I pencil at the same size that it will be reproduced. Later, I broaden it two-fold and ink on a light table. End of story. Well, months ago I discovered Google Sketchup. I haven’t learned a great deal, yet, but I think it can be very helpful — an interesting tool.

As far as I know, you first earned major attention for your erotic comics.

JJR: I began my professional career with a small Spanish publisher, a small project for a children’s comic with fairies and goblins, and they commissioned me to make an erotic series around the same time. Series like LesbiaciÃ³n, Monique y Denisse (which was changed to Gladys y Monique), but at the same time there was Nancy in Hell or Bribones, a genre series, not erotic — you will see it soon in the US.





So how did you get from there to working for Avatar in America?

JJR: Wow! It’s a long story… I will try to summarize it: I was collaborating on a Spanish book based on [Alan] Moore’s songs: Magical Mystery Moore. Avatar bought the rights to publish it in the U.S., but wanted to change the cover for their edition and they liked my style. I made two covers, then another, and another, a small series, another, then RoboCop, then… the rest is history. Of course, Magical Mystery Moore was Magic Words in the American edition. As you can see, name changes are pretty common. [Laughs]

The first place I saw your work was in Frank Miller’s RoboCop, which was excellent. How tricky was it moving from stuff like Monique y Denisse to licensor-approved action comics?

JJR: Let’s see… yes, at first it was a little complicated, knowing which characters were supposed to look like the actors and which were not, what we could use from the movie and what we could not (a matter of rights, you know…). But it was not anything traumatizing. Secondly, like I told you, I had already made action comics, many more than sexy comics, in fact. You’ll see titles like Rimas de Acero, Bribones, and Nancy in Hell that bear witness to this. If erotic themed comics were more popular it wasn’t my fault — people bought more of them! [Laughs]

Should we expect to see more of your work on things like Nancy in Hell in the future, then?

JJR: No, Nancy is an old project that has now seen the light of day in the US. I know that there are more in the bag, but for the moment I’m not on the project. I would love it and I am always staying abreast of her evolution. For many years, I have shared a great bond of friendship with El Torres, writer and “alma mater” of the series, but right now I cannot take on the project. But believe me, it will be in good hands.

While working for Avatar, you drew what seems like hundreds of “girly” covers featuring Lady Death, Pandora, and the rest. How did you keep coming up with ideas for those? It seems like it’d be hard to come up with that hundredth straight Lady Death cover… [Warning: You probably don’t want to click any of these at work.]

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JJR: Hmmm… well, yes, when I got to thinking about it… but that would always quickly pass! [Laughs] Look, one time I saw an interview with [Charles] Schulz on television, the genius creator of Peanuts, in which he said that he drew all the time — that becoming blocked was for novices. I apply that maxim. I pick up the pencil and begin to draw… something always comes out.

While working for Avatar, you were paired with Warren Ellis on a number of projects. In the first one, Angel Stomp Future, the story ended with the main character pissing on someone, and from there, things just seemed to get more extreme, until we got to the spine-phallus in No Hero. How do you approach drawing such extreme subject matter? Does it ever make you think “Oh, ew, gross?”

JJR: Hey, is that all you saw in Angel Stomp Future and No Hero? There was more than that! [Laughs] Look, I’m an “instrument” of the writer. I draw what he writes, I don’t even judge or ask questions; I try to do my job the best I can. That is what they pay me for and that is what I do. Later, it is the readers who judge the work of the writer and the artist… thinking about anything else is absurd… and a waste of time.

Speaking of extreme subject matter, I’ve talked to artists before who’ve related stories about having Marvel or DC reject pages for being “too sexy,” “too violent,” “too whatever.” Going from No Hero to Wolverine, have you had that problem at all?

JJR: Well, on occasion I have had to change things, but not necessarily for being “sexy” or “violent.” Sometimes because of errors in interpretation or even translation. But this is common; look, this is an industry and I am a gear in the machinery. If I want to be in it I should turn like I am supposed to: greased and in the appropriate direction.

There was that fleeting controversy where people thought they saw one of Emma Frost’s breasts in an issue of Wolverine…

JJR: What?! I have never drawn Emma Frost topless! It would never occur to me to do something like that! I don’t know what you are talking about! I don’t know where that could have come from!

Speaking of adult subject metter, though, each issue of Wolverine: The Best There Is has that big red “WARNING: NOT FOR KIDS!!!” label, which begs the question… who has the sicker imagination: Charlie Huston or Warren Ellis?

JJR: [Laughs] No, no, based on the questions you are asking me I think I am the sick one! [Laughs] Huston is a super nice guy, always considerate and willing to collaborate, understanding, kind and fun. In addition to all of this, I think he is an authentic genius, his scripts are brilliant… and in spite of that, I think he could be your friend, get a coffee, talk about our kids or about basketball. Warren, without a doubt, is a genius, it was an honor to work with him. I am aware of how drawing his scripts gave a boost to my career and I am enormously appreciative of him. We never talk, I think that somewhere he said that I did not speak enough English to chat… and he was right! [Laughs]

So what’s it like, then, working on Wolverine: The Best There Is?

JJR: Exciting, a challenge — I am really enjoying this project. To draw such a big story with such a big character is… incredible, frankly inexplicable… the love… I am in love with the series! [Laughs] No, seriously, it’s my longest and most important series to date. I’m trying to give my all for a collection that is at times demanding and hard for the artist. Like I said, a challenge, an important challenge.

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What are your ambitions for the future? Is there any Marvel or DC character you’d love to work on, now that you’ve “made it” to the Big Two?

JJR: In the future, I’d like continue drawing comics and making a living at it, after my family, my friends — ultimately, what we all want. For me, comics are the most important, what I love the most in the world. Characters? Hmmm… I don’t know, I’m capable of identifying with and getting excited about any project, big or small. I like many DC characters and many other Marvel characters… and those of other publishers! [Laughs] But really, this isn’t very important for me. I am a professional, and like I told you, I always submit to the wishes of the writer, editor, company…

(For more of Juan JosÃ© Ryp’s art, including a look at just how intensely detailed his uncolored art is, check out the accompanying Art Feature post!)