“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.
Imagine a creator who can write, illustrate, and color; whose clients include DC, Marvel, Iron Circus, Mad Cave (and those are just the purely comics ones!); and whose already impressive profile is about to rise sharply with the release of a new graphic novel this year. No need to imagine any further — meet Bex Glandining.
First off, the basics…
Your specialties (artist/writer/letterer/inker/etc.): Illustrator, comic artist, and colorist
Your home base: Kent, UK
Website: www.lgions.com
Social Media
Instagram: @lgions
Bluesky: @ligons.bsky.social
Fanbase Press Contributor Kevin Sharp: The first question is the same for all guests: Why comics? What about this medium specifically attracts you as a creator?
Bex Glendining: For me, I think it’s the connection of longer form storytelling, written word and illustration. It’s the perfect combination, and there’s so much you can do with it, so many different ways you can show and tell a story. I love the potential comics have — there’s no right or wrong way to do it, they can be quite freeing. I love digital comics, but I also really love printed ones, not just because it’s nice to have physical copies, but I like how paper choices and binding can help play into the story and the vibe.
KS: Please tell readers a bit about where you grew up and what favorite things made up your creative diet when younger… movies, TV, books, etc.
BG: I grew up in the Southeast of England with my mum, who has always encouraged and supported my creativity, whatever that may be. I spent a lot of time in nature, especially at the beach which I think increasingly influences my art, particularly the colors I use and locations I’m drawn to using in my comics. In terms of media, I was mostly into music growing up and drew lots of traditional portraits of different musicians, until I got more into fandom spaces in my mid teens, and started making graphics and gifs for tumblr, eventually leading me into drawing fanart. It was all Teen Wolf and Loki, and then Dragon Age and Overwatch for me for a good while there – haha.
KS: In what form did comics first arrive for you? Would it have been newspaper strips, traditional “floppies,” webcomics, or a combination of those?
BG: I arrived kind of ‘late’ to comics, though I don’t believe you’re ever too late to get into anything, especially comics. I sporadically read The Beano when I was a child but it didn’t really click, and then in my late teens I started to get more into floppies and cape comics which lead me to where I am now.
KS: Did you have a go-to comic store back then?
BG: In my late teens there was a comic store in town where me and my friends would sometimes go after college. It’s where I got most of my floppies from! Unfortunately, they moved and became a board/card game store, so I ended up moving to digital copies.
KS: Was there particular material, or types of material, you were drawn to as your tastes expanded in that world?
BG: Initially, I mostly read the big cape comics. A lot of Batman, Nightwing, Captain America; it’s kind of where they tell you to start when you’re getting into comics, and it was what I could get my hands on without having access to a local comic shop. Eventually, I discovered the old Comixology app and through searching found Crowded and was like wow!! I fell in love with the characters/world instantly, and the art, and started searching for more independent stories. It led me to the likes of Through The Woods and Taproot, and I was just in awe of these individual worlds and stories. People have so many great stories to tell, across so many genres, and I want to consume them all.
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?
BG: The first book that comes to mind is What We Don’t Talk About by Charlot Kristensen. I read it in August 2020; I don’t think we were in an official government lockdown at the time, but I was existing in one. I was desperate to be outside, anything to be away from my computer and the news for a while. I ended up sitting on a small outdoor area of my family apartment and reading WWDTA. It was absolutely gripping from the first page. Charlot’s work is beautiful, and her storytelling is amazing. At times the story was painful, and hit a little too close to home, but it was such an incredible and realistic portrayal of bigotry and race in an interracial relationship and something that needs to be told. The story stuck with me for ages afterwards, and I often recall it as one of my favorite graphic novels and one that pushed me forward in really wanting to work in comics.
KS: Switching over to you as a creator, what was your early artistic life like?
BG: When I was a child I was happy with absolutely any art medium I could get my hands on, bonus if it made a mess! I just wanted to try anything and everything. I spent a lot of time in art shops with my mum who encouraged my creativity. As I grew up I was drawn to pencils and spent countless hours doing black-and-white portraits which eventually translated into digital portraits.
KS: Do you remember any early experiments making comics or sequentials?
BG: Hmm, the earliest memory I can really recall was from college. I was far too ambitious and attempted to start a long-form horror fantasy with little previous experience in comic making – haha. I spent so long painting like four pages for an assignment before realizing I may have bitten off more than I could chew. After that I mostly just did one-page abstract/poetry comics sporadically.
KS: Many kids have art as a hobby, but far fewer obviously pursue it “for real.” When did you get the idea that this might be an actual profession you could pursue?
BG: I don’t think it was until I was about a year into my career, honestly! Before that point I never thought it was something doable long term, for me. I didn’t know the world of professional illustration/comics, or how it worked; instead, I was stumbling around like a newborn foal, but while it was slow going, it was working, and I was enjoying it. When I got my first book cover job, I realized that maybe this was something I could really do long term and live off of and put a lot more time and effort into building my portfolio.
KS: Do you recall how that first cover assignment found you, or vice versa?
BG: I unfortunately don’t have a super helpful answer to this. I don’t know how the editor of my first book cover job found me, but I assume it was through social media. I got the job in 2018, and at that point I was posting regularly on tumblr and twitter, and also responding to any calls for art shares and hashtag events such as #drawingwhileblack. I think part of it was luck, and part of it was the right place at the right time, while also repeatedly putting myself out there and sharing art.
KS: Then, how about the first piece of art you ever got paid for?
BG: I did batches of commissions when I was starting out and some work for my university, but outside of that my first job was a cover and interior pieces for the sadly ended Rolled & Told D&D magazine. I’m still honored to have been a part of it, and for Steenz for guiding and supporting me on my first illustration job.
KS: Your mention of Steenz leads right into the next question… Is there someone who was especially helpful to you in your pro journey?
BG: There’s a few people I can think of, but I’d like to mention Jasmine Walls, who I could yell about how amazing she is every day, not only as a writer, editor, and artist, but also as a person. From the first email I received from her back when we were working on Seen: Edmonia Lewis, Jasmine went above and beyond with support and kindness, and I’m so grateful for her and her friendship. Jasmine also helped edit my pitch for On Starlit Shores, so without her and her cheerleading to keep going, it probably wouldn’t exist. I’m also so thankful for everyone who offers general advice on social media, especially about wage transparency and advocacy of self within the industry.
KS: In addition to illustrating your own work, you’re also a colorist for others. Was that something you set out to learn specifically, or something you discovered you were good at along the way?
BG: When I was first starting out, there was an open call, I believe, for applications for flatters for Iron Circus, which I applied to. At that point I was applying to anything, hoping to get my foot in the door. I didn’t get the flatter role, but they kept my name on file and I was later contacted about potentially coloring Penultimate Quest by Lars Brown! It was a learning curve for sure, to do colors on someone else’s work and to industry and printing standards but it was such an amazing experience, and I’m so thankful to Lars for trusting me on his project.
KS: Similar to my previous question about how you landed that first cover you did, what’s the process for finding coloring gigs these days? For example DC’s Bad Dream…
BG: Some of my coloring work comes through my agent, while the rest I believe comes from being in editors’/art directors’ catalogs of colorists from previous applications or jobs. I’m very lucky to have worked with Sara Miller, who was the editor for Bad Dream, a few times now.
KS: Imagine a hypothetical Comics Hall of Fame where you get to nominate one title from any era. What gets your plaque and why do you think that represents the medium at its best?
BG: Such a difficult question! I think I’d have to go for Salt Magic by Hope Larson and Rebecca Mock. To me it’s a masterclass in comic craft. I couldn’t put it down once I started reading and often find myself going back to it. The writing and pacing draws you right in, and the beautiful art matches and elevates the story perfectly. It’s a thoughtful, surreal, and fantastical story that really makes you slow down and take in every panel. And the ending! Incredible.
KS: Which brings us to your new graphic novel, On Starlit Shores. I won’t ask where you got the idea for the book, but rather whether you found your way into it through plot or images first.
BG: It was processing grief that was really the driving force, but I would definitely say it was plot first. I actually didn’t start drawing for it until I’d finished most of the written portion of my pitch. I find writing first for long projects really helpful; it helps me get ideas out of my head and onto paper quicker than drawing, and can do it more easily on the go or as and when ideas hit.
KS: Can you briefly describe the path of getting the book from your “pen” to publication? As an agented writer, do you pitch the idea to them first, while it’s in progress, or after it’s finished?
BG: I actually became agented through illustration, but always intended to try and pitch my graphic novel. OSS was a completely different story back then, but, thankfully, Paige [my agent] liked the premise so I continued working on the pitch, with editorial help from Jasmine Walls. Once the pitch was completed, Paige put it out into submission to various publishers. For the next pitch I’m working on, I’ve sent early drafts and ideas to my agent, so she’s involved throughout the whole process this time, which has been so helpful for feedback!
KS: To wrap up, please tell readers when the book will be out and where they can learn more.
BG: On Starlit Shores will be out September 30th in the US and 6th November in the UK. You can find more information and where to buy from Abrams Books and here.
