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Adam Hughes interview

Published on 17 September, 2010

Authored by Titan Books

When you look back at your work in Cover Run, how do you feel you’ve changed as an artist over the years?

Concept-wise, I think I’ve matured a little, maybe with a hint of cynicism.  I think my sense of humor has evolved.  My sense of color has definitely improved.

When you started in the comics industry, was it always your intention to be a cover artist?

No, not at all.  I just wanted to draw comics.  I’m not sure how I ended up doing covers almost exclusively.

How much creative freedom do you get when drawing covers?

These days?  Quite a lot.  People seem to have sussed the fact that I do my best work when they trust my judgment.

What’s your starting point when working on a new cover? Do you have a specific research process?

There’s nothing specific, it’s all dangerously organic.  I go with the flow and just let the assignment evolve on its own.  Every piece is something new.

When designing a cover, how influenced are you by the interior artwork? For instance when David Lopez was working on Catwoman, did you use his style as a template?

I’m not influenced much by the interiors, mainly because the interiors can change over the course of a run.  On WONDER WOMAN, I lost track of how many different interior artists came and went.

You worked on some concept art for the Watchmen movie. How did you approach this task?

I worked on WATCHMEN for about 8 minutes.  I only did a handful of sketches.  I approached the task with respect: I had to give the director what he wanted, but my secret agenda was to always be as faithful as I could to Alan Moore’s and especially Dave Gibbons’ work.