“Between the Panels” is a monthly interview series focusing on comic book creators of all experience levels, seeking to examine not just what each individual creates, but how they go about creating it.
Whether it was entering a Batman contest or discovering the work of Kelley Jones, Eamon Winkle’s path to being a professional artist is marked with important milestones. After being “discovered” for the indie book, Principles of Necromancy, Eamon is now ready to make the jump to the next level — while never forgetting the fan support so necessary for any level of success in this business.
First off, the basics…
Your specialties (artist/writer/letterer/inker/etc.): Artist
Your home base: California
Website: www.eamonwinkle.com
Social Media
Instagram: @eamonwinkle
Bluesky: @eamonwinkle.bsky.social
Fanbase Press Contributor Kevin Sharp: We start with the same first question for all guests: Why comics? What do you find appealing about working in this medium?
Eamon Winkle: Comics have always been a home for me! Growing up in the ’90s was a perfect time to jump into comics. It was really a point when people were pushing their artwork and the stories to new limits. After I graduated from UCLA and I had to decide what I wanted to do with my life, preferably art related, I found myself being pulled back into that world. What I love most about it is there’s never a lack of ideas! Every new piece or page is something exciting to work on, be it a kaiju-sized flesh golem, a cybernetic polar bear, a legion of ghost pirates, a reinterpretation of a kelpie; bringing the ideas of the writers to life never loses its charm, and I’m always eager to see what each collaboration brings!
KS: Tell us a little about what your artistic life looked like growing up. Were you an artist from the start or was it a hobby you discovered later?
EW: From day one! As far back as I can remember, I was drawn (No pun intended.) to art and creativity, whether it was drawing my favorite characters or drawing something only a child’s imagination can bring to the world — Batman riding atop a dragon for example. I couldn’t imagine not drawing, not creating. It’s as essential for me as breathing, I need it in my life. It doesn’t matter where I am or what I’m doing, I always have a pencil/pen and piece of paper or sketchbook in hand, doodling or sketching out ideas for projects or for fun.
KS: Did you have other artists in the family as an influence?
EW: I’m grateful to have been surrounded by such a creative family and that made such an impact early on. They all had their own area of focus: My mom made beautiful handmade cards, really elaborate and intricate designs all made from handcut paper and stamps and inks, while my dad woodcarved and sculpted various things, snakes for a long time. My older sister Grace was always, and still is, one of the most creative and incredibly talented people I’ve had in my life, and seeing her draw always inspired me to draw to see if I could make something even half as good as her. They all have always supported my work and encouraged me to pursue art, and really instilled the mindset to create what I’m interested in, that the enjoyment in creating is most important. So grateful to have them with me in this journey.
KS: Looking back, was there a particular “big deal” art project you remember completing – whatever age that was and whether or not anyone else ever saw it?
EW: One moment that stands out to me was when I was a youngin’ back in the ’90s. WB held a contest celebrating Batman: The Animated Series, my gateway to superheroes and comics and where it all began for me. The contest was to draw your favorite Batman-related character or characters on an envelope and the winner would be selected. So, my dad brought me one of those massive envelopes and I covered it in every Batman character my child self could fit on there. Weeks went by, and I remember getting a package in the mail with some Batman toys as part of the prize package. To a kid, it was such a moment of accomplishment to know your work stood out, and was one of those lessons to always try, always enter the contests or calls for art, and always give it my best shot even if I think I won’t be selected. Fast forward to 2023, I saw Jackson Lanzing and Collin Kelly asking for portfolio to find an artist to collaborate with on a new project. I threw my name in the hat, fully expecting to not be selected. Next thing I know, we’re collaborating with them on a creator-owned project that would become Principles of Necromancy, and mark my first foray into comics, which I’m eternally grateful to them for. Take those chances!
KS: Had you been building a portfolio specifically for working in comics?
EW: I had a portfolio that I carried around at shows to show editors/portfolio reviews/anyone who would take a moment to look at it. It was previous work, covers, pin-ups, illustrations, but the one thing I didn’t have at the time was sequential art, which, if you’re trying to break into comics, is essential. As a young artist, every review is a lesson, whether about how to improve your art or craft, learning what your strengths and weaknesses are, what your portfolio lacks or could benefit from, etc. Don’t be afraid to ask for reviews! It’s the best way to improve and gauge where your progress is.
KS: Did Collin and Jackson tell you what specifically put yours over the top for them?
EW: If I recall it was my proficiency and comfort with horror and monsters, which for Principles of Necromancy was important. I’ve always had an eye for high detail, whether it’s a heroic figure, a horrible creature in the shadows, knick-knacks and baubles lying around an abandoned lab. And I think that love of world building and attention to detail was what set me apart.
[Author’s note: For more about Principles of Necromancy, see my chat with co-creator Jackson Lanzing here.]
KS: Backing up in the timeline, at what point roughly did you think of maybe being able to have a career as an artist? Was this something that seemed like a realistic option?
EW: Art was always a side mission of sorts. For a long while I was working at a dental lab making prosthetics and dentures by day, and drawing at night to satiate my creative interests. Eventually, I left to draw full time, which did feel like one of those sink-or-swim moments. When I started working with Jackson and Collin on PoN, that was really the moment that made me recognize that I could do this as a career, and haven’t looked back! The fact is, we hear all the time that art isn’t a feasible or realistic career. I’m very lucky to be in a position to create for a living, it really is a dream made real. I’m excited to see what’s ahead and happy to have you along for the ride with me!
KS: You mentioned BTAS as your gateway, but going from there, how else were you exposed to the bigger world of comics? At what point did you have easy access to traditional “floppies?”
EW: I have to give credit to my cousin Skyler for being the one to guide me into the world of comics. While things like BTAS and X-Men were my early exposure to the characters, he was the one to show me what kinds of stories and amazing art that comics could provide. It was the ’90s, so storylines like Batman Knightfall and his ongoing battle with Bane, Death of Superman, Jim Lee’s run on X-Men — I remember that conversation being “have you heard of Omega Red?” as he showed me the cover of him and Wolverine tearing each other apart — and on and on. To a kid who thought the pinnacle of these characters was the cartoons, there was no going back. Comics had their hold on me, and have held on tightly ever since.
So I’ll take a moment to say, Skyler, thank you for being the cool big brother figure I needed and bringing me into this world. I’m eternally grateful for that.
KS: Once you could differentiate between different artists and art styles, who were your earliest favorites?
EW: Oh man, how much room do I have to list people? There were so many, both in comics and other forms of art: Mark Bagley’s run on Amazing Spider-Man (still the quintessential Spider-Man for me), Todd McFarlane on both Spider-Man and Spawn. I can’t tell you how many Spawn drawings I drew in the back of notebooks in school. Mike Mignola (Hellboy obviously, but also his Dracula adaptation), Jim Lee, Alex Pardee, Bernie Wrightson, Bruce Timm, to name a few. I remember reading Wizard magazine, where Greg Capullo had his ‘Capullo’s Crash Course:’ drawing lessons from the basics like how to layout a page, anatomy, how to use shapes to create dynamic and interesting body types. That was paramount in my creative education, and I still look back on those occasionally for a refresher. But I’d be remiss if I didn’t mention Kelley Jones, who was really the artist that immediately captured my eye and made a lasting impression on me. His work on Batman, Deadman, and Swamp Thing, the exaggerated anatomy, the heavy shadows, the beautiful monstrosities he could do, was eye opening in the best way. Seeing his work was the moment I said, “Yes, this is what I want to do in life,” and haven’t looked back.
KS: At Fanbase Press, our #StoriesMatter initiative endeavors to highlight the impact that stories can have on audiences of various mediums and about the way a reader can find an important story at just the right time. What was a comic book story you read when younger that had a real impact on you?
EW: Piggybacking off the above, it’d have to be Batman: Red Rain by Doug Moench and Kelley Jones. When I saw that at a young age — again, thanks, Skyler — I was immediately enthralled. Kelley Jones brought out his A game on that one. It’s been on my drawing desk ever since, always within reach.
KS: What made it the right story for who you were as a reader/person at that moment?
EW: It was so different from anything I’d seen before, both artistically and thematically! Batman in a gothic horror story, fighting vampires, becoming a vampire himself, it was everything an overly imaginative kid could ask for and more. It showed me there was a place for artists like me, who enjoy both superheroes AND monsters and horror. It really reinforced that comics was the place for me, both as a fan and as a creator. When I’m drawing I’m trying to capture that same energy and feeling I had when I first read that book, and try to pass that on to the next generation of readers to inspire.
KS: These days, do you have a typical “business hours” workday routine or is it looser than that?
EW: While I hold myself to getting hours in and draw most of the day, I wouldn’t say I have a set schedule. Being flexible helps me creativity, giving myself time to take a break and breathe before diving back into a page or piece. It’s important to take a step back as you’re working and look at a work with fresh eyes, it really helps prevent frustration and burn out. So, while I draw for 8+ hours a day, it’s throughout the day with time to go on walks, enjoy a laugh, or cook a nice meal in there to refresh that creative energy. Now, all that goes out the window when deadlines get closer…
KS: What about listening to music or other background noise while you work?
EW: Thumbs up to music! Unless it’s a movie or show that I’ve seen countless times — Brendan Fraser’s Mummy comes to mind — I’ll find myself wanting to look up and get distracted. Music however helps me tap into my creativity; I can often look at a piece or page and tell you what song or album I was listening to at the time to channel the vibe I needed. For example, the first issue of Principles of Necromancy was almost entirely Heilung and Loreena McKennitt, music that got me in the mindset of depicting an ongoing barbarian war, as well as the calmer moments of what drives their characters. Meanwhile issue two, which really delved into a creepier story of Doctor Eyes in his laboratory, was fueled by Billie Eilish’s “Bury a Friend” — perfect for conjuring scary imagery. Aside from specifics, my playlist is a mix of Tom Petty, David Bowie, Iggy Pop, Siouxsie and the Banshees, Imelda May, Surfer Blood, MF Doom, Gorillaz, Rush, and on and on.
KS: What’s something you feel you understand better about working in comics now that maybe you didn’t fully grasp when looking in from the outside?
EW: Easily the aspect that comics are a collaborative effort from many individuals: the writers, artists (pencilers, inkers, colorists), the letterers, the editors, the publishers, and so many more all have a hand in creating what you’re looking at. And while it takes time for everyone to play their role, it’s amazing how fast the whole process feels when you’re in the middle of it. There have been many times that a deadline feels so far away, and you realize the time has gone by in a blink, and, suddenly, your book is on a shelf at your local shop.
It really shows that from start to finish, comics are a community effort that we all have a part to play. The reader buys and reads a book, supporting creators and allowing them do more of those stories, especially creator-owned books!
KS: Imagine I can hook you up to a machine, Matrix-style, and upload instant expertise in any skill. What is your new talent? This can be something you’re decent at now but would like to be better at, or something you have no aptitude for at all.
EW: I’ve thought of this a lot over the years. There was a Justice League villain named Prometheus who had a helmet that could download skills for any occasion, always loved that concept. Frankly, I love seeing the artist I’m becoming as time progresses, and see my skills improving with each new project. That being said, I remember reading that when Katsuhiro Otomo was working on the Akira manga (and the anime simultaneously), he was doing 20 pages a week. Even with assistants, that’s an incredible pace I cannot imagine! I implore you to go flip through Akira’s pages, look at the amount of detail especially in the landscapes and vehicles, and understand why that’s mind-shatteringly impressive. For perspective, that’s like putting out a standard American comic every week, instead of typically getting about 5 pages weekly as I currently shoot for. So yeah, beam that into my brain please.
KS: If a Comic Book Hall of Fame came into existence and you got to sponsor one title from history that you feel represents the overall medium at its very best, please tell us how you’d assign your plaque.
EW: How can I choose just one?? For me, I’d have to go back to an early read for me: Bill Waterson’s timeless Calvin and Hobbes. The artwork is wonderful, and the storytelling has plenty of heart and somber moments to hit all your emotional needs, and is entirely relatable to any reader. To me it’s a perfect showcase of what comics can do as an artform: It can make you laugh on one page, be hit with a wave of nostalgia as you remember your own childhood imaginary friend, or shed a tear or several as you relate to the character’s losing a beloved pet. It’s a work that makes you feel and inspires you to create. Calvin sums it up best: “It’s a magical world, Hobbes ol’ buddy. Let’s go exploring!”
KS: On that perfect closing note, please let readers know what work you have out now and what’s on the horizon for 2025…
EW: Got some fun things brewing on the drawing board that while I cannot reveal yet, I’m excited for you all to see what’s ahead! Got a few collaborations with creators I’d never imagined I’d have the opportunity to work with, and am infinitely grateful for the chance to do so. And truly, thank you for all the support along the way. I’m so thankful to have you all along for the ride!
