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ALEX MALEEV: THE DEVIL'S ARTIST
by Jennifer Contino (The Pulse)
Alex
Maleev is one of the creators helping Daredevil
to shine each and every month from Marvel Comics.
Working with scribe Brian Michael Bendis, the Daredevil
Duo helped raise the profile of this character even before
the movie hit theaters. THE PULSE caught
up with the artist to talk about his past in Bulgaria, his
intro to comics, and what he has planned for now and the future.
THE PULSE: How do you think growing up in Bulgaria
affected the way you view the world and the way you create
your artwork?
MALEEV: It kept me away from the comics
in general, I grew up chasing a football or rather keeping
away from goal and a comic book in somebody's hands was a
rarity. I didn't get familiar with mainstream comics until
seven years ago.
It might have helped me stay away from the average super
hero style and maintain certain edge to my work.
THE PULSE: What was the comics scene like in Bulgaria
when you were a child? Which comics were popular? Which did
you collect?
MALEEV: Only this French "freedom"
magazine called "PIF". Only thing I could get my
hands at with the exception of few books I stole from friends
whose parents lived in abroad or traveled.
THE PULSE: Were there a lot of superhero comics or
was another genre the dominant "home" comics style?
Which genres of comics interested you the most as a reader?
MALEEV: Erotic.
THE PULSE: When you began to create .. which genre
of comics interested you the most as a creator? Why?
MALEEV: Same as above.
THE PULSE: Who are some of your artistic influences
outside the realm of comics? Which painters do you like? What
art period is a favorite?
MALEEV: My favorite would be Rembrandt.
His etchings had deep impact on before I applied at the Academy
of Arts in Sofia, I knew I wanted to dip my hands in some
etching inks and roll the press. I have fallen for the Little
Duchmen occasionally. From the top of my head I would mention
Bruegel.
THE PULSE: How challenging is it to develop an unique
artistic style? How hard is it to be unique yet recognizable
when working on iconic characters?
MALEEV: Ones style is like a melting pot,
if you are a good cook you know which ingredients to stir
up. The signature line becomes a style when somebody imitates
it. I don't think I have become a chef yet. Little more Brunovski
and a touch of Anderle would get me there I hope.
The " iconic characters" just happened to be victims
of my search for my" style".
THE PULSE: Most artists consider their work an evolution
or work in progress. How are you changing with each new project?
How do you try to evolve with every assignment?
MALEEV: I wasn't sure what to do with Daredevil
now, I am not sure what the next thing a lay my hands on would
look like either. I think the change comes from constant work
in search of finding the short cut. Drive to simplicity is
perhaps natural and it comes to hit you in the back of your
head once in a while.
I look at Mignola's work and every new book he does continue
to leave me in awe. He becomes simpler but it tells just enough
without to satisfy the capricious eye.
THE PULSE: What challenges you as a creator? What
keeps you wanting to work on comics as opposed to other expressions
of art?
MALEEV: My deadlines.
THE PULSE: You've worked on superheroes and supernatural
type characters. Which do you prefer?
MALEEV: Down to earth people, somebody you'd
rather see in the gutter laying next to you at five in the
morning rather then blowing capes.
THE PULSE: With each new assignment are you looking
for the polar opposite of the previous one or do you like
to work on similar projects? Why?
MALEEV: I don't have the opportunity to
choose from tons of projects, work finds me more nowadays
then I find it. It dictates my direction. I would prefer to
pinch from more plates then one though.
THE PULSE: How is creating the art for Daredevil
different from Sam and Twitch or your other works?
MALEEV: It brought the existence of a Mac
at my house, which took over me about year and a half ago
and now I bring him the sleeper and morning newspaper every
day.
THE PULSE: Your coverwork has an almost photo quality
to it mixed with different mediums. How do you achieve the
look of each cover? With each new issue are you pushing the
limits and boundaries you set on previous ones? How important
is it for you as a creator to have a striking cover?
MALEEV: Very. It is the gate to the interiors,
and it has to be the finest piece of the whole book. All covers
come with different message and influences the approach. In
my case though the overwhelming feeling of staggering thoughtlessness
is my best escape. The moments when the hope is the last thing
to die you reach for that last penny in the pocket and boom
there it is! There's always that good idea that comes like
unwanted period. You know it's there, poking it's head around
the corner.
THE PULSE: Which is the greater challenge, illustrating
the interiors or coming up with the perfect representation
for the cover? Can you have a great looking interiors with
a mediocre cover or stunning cover and disappointing insides?
MALEEV: I've seen a lot of the second, perfect
balance is golden formula.
THE PULSE: In our interview with Brian Michael Bendis
he mentioned the return of Typhoid Mary. How familiar were
you with this character? When you were drawing Mary, what
influenced your rendition of this classic character?
MALEEV: I found my friend Mary and took
pictures of her while she was kicking ass.
THE PULSE: Matt Murdock may be "blind,"
but his heightened senses more than make up for it and allow
him to be a hero. As an artist, do you feel as if you have
a heightened sense and power in your artwork? Which if any
of your other senses do you feel are lacking due to your strong
talent for design and presentation?
MALEEV: I think I lack the strong talent
for design and presentation because of time limitations.
THE PULSE: If you could only use one tool,
besides the paper, to create, which one would you choose?
Why?
MALEEV: Nature, it's the best artist, using
it's tools make up for half of the creativity.
THE PULSE: A lot of artists have a "soundtrack"
they listen to when creating. Do you like to listen to music
as a background for your work? If so, what music inspires
you while creating Daredevil? If not, do you like to work
in silence? Why?
MALEEV: Lately internet radio, jazz and
electronic stations. I have learned my cd library by hard.
THE PULSE: How long do you see yourself working on
Daredevil? Do you get bored after a set number of issues or
do you like to stay on projects long time? Why?
MALEEV: It's the best job I have had in
a long time, maybe second best next to my ski school teaching
years. Yeah, I'll stick around for a while.
THE PULSE: If you weren't currently working on comics
and had no artistic skills, what type of job do you think
you might have?
MALEEV: Something in the movies, adult film
star, he he. Or own a bar.
THE PULSE: What historical art-movement do you think
comics could benefit most from studying and incorporating
some aspects of into current styles?
MALEEV: Live drawing. The mother of all.
THE PULSE: In your opinion, how much should a computer
be a tool when creating comics, and how much should it be
a complete look?
MALEEV: Whether a computer or a shoe shine,
it should be natural extension of the thought. I draw with
a brush as well it only shows it's on a screen as opposed
to paper.
THE PULSE: What underused techniques are you going
to introduce into your art style for Daredevil that will set
your art apart from all the other titles on the shelf?
MALEEV: I honestly don't have a clue.
THE PULSE: What is a project - in comics or out -
you would like to have a shot at creating? Why?
MALEEV: Something urban, something dark
and horror. And light on censorship site.
THE PULSE: What other projects are you working on?
MALEEV: A shot of Hellboy.
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