I've interviewed a lot of artists, and although it's been a fun ride, I've discovered that a lot of artists - some of whom the readers ask me to take a look at - ignore my interview requests because of a few misconceptions. Now, if people don't want to be interviewed because they want to stay private, that's fine - I understand! However, I've found that most everyone likes the idea of their work adorning the pages of the world's largest anime site. So, in the hopes of clearing up a few misunderstandings, here is a quick FAQ about The Gallery, the interview process, and other tidbits. If there's something you're wondering about that doesn't get answered here, let me know!

Why do you need to interview me by phone?
The point of a good interview is to show the reader not just what inspires the artist, but also look at how that person has developed their style over time. How each artist works is different and special, and being able to converse about such details in person works so much better than waiting for e-mail replies. Plus, if we are talking in person, it's easy to ask for clarification or more detail from the artist. That means that the reader learns more about the WHOLE story of the artist and gets a much more personal picture of that artist, not just a list of the little stuff that lies on the surface, like "what tools do you use" and "what manga inspired you."

In other words: it's more interesting, and it allows the reader to take a personal interest in you - as opposed to something that makes them think, "oh, here's another person who draws nice in Photoshop."

My english is really bad. Won't I sound stupid?
As someone who has spent over a decade studying languages, I know what it feels like to worry about whether what I'm saying sounds right or not. That's why all interviews - both notes I take from the phone interview and anything you e-mail me - are edited to be grammatically correct. Put simply, don't worry - your dialogue and quotes will sound normal and carry all the meaning you intended them to have.

Has anyone ever complained about the way they were portrayed in the column?
I've interviewed more than 40 artists, and I have yet to receive a complaint. In fact, most artists are pretty thrilled with the way their article turns out. There have been times when a word here or there was wrong when the column went to print, but usually this sort of thing is easy to correct. Additionally, if the interview is done early enough, I'll go through the material with you ahead of time to ensure it is correct.

Why should I do an interview with you anyways? I have millions of hits on Deviant Art already!
Deviant Art is a wonderful place for any artist to get exposure for their work. However, it's not the only site out there. Successful artists often promote themselves in many different places so they can expand their audience. The Gallery was created for this purpose - to give artists another outlet for exposure. Which reminds me: when you do an interview for The Gallery, it gives you a chance to link to that interview in any future promotion you might do. That gives the people (and companies) interested in buying your art (or hiring you) a whole lot more information and detail than they might get from other artists.

What specs should I use for submitting work?
Nice, large JPEGs, RGB, at 72dpi. I do all the necessary thumbnailing myself. In other words, the same format that ends up displayed on Deviant Art. Makes sense, right?

What does the column look like?
This one is easy. Just check out the archives.

Why do you care so much about giving attention to North American artists who draw in the manga style?
I get this question a lot - especially since I've spent three years in Japan and was part of the art community there. While some people believe that Japanese artists have "magical manga making powers," the truth is that they use the same tools that are now available to North American artists - Copics, Photoshop, Deleter screens, and so forth. The biggest difference between the art community in Japan and the one in North America? Exposure. American companies don't publish even 1/1,000th the amount of original material that their Japanese counterparts do. Most American companies have said that they are interested in original material, but let's face it - they haven't done a whole lot to prove that statement yet because we're in a recession, and original material is difficult to support in this kind of business climate.

I remember the first time I walked into a convention Artist's Alley. I was amazed by the range of talent I saw - not to mention that there was more original work being sold than there was at any Japanese convention I'd ever attended. The artists in North America who have been inspired by manga are not only producing beautiful work, but they are also beginning to take that work in new directions, developing and changing the way manga-style art is perceived. That talent deserves to be shared. It's regrettable that so many artists in this community are unable to work in art professionally because the jobs and money aren't there. However, I believe that if more people hear about the work that North American artists are producing, we can change that.

Japan's manga industry didn't develop overnight. It grew over time, expanding out until its cultural impact was so great that it inspires artists from all over the world. I'm not expecting the same thing to happen in North America, but I know that if the artists in this community continue work hard and the amount of exposure they get increases, things can change.

Again, if you have been asked for an interview and have any other questions, just ask me.