Comics UK

I'm hoping to interview artist Martin Asbury shortly - does anyone have any questions they would like asked?

On the Anderson front - which is brief but widespread - he illustrated some of the Joe 90 strips in 'Joe 90: Top Secret', then drew 'Captain Scarlet' and 'UFO' for 'Countdown'. He then drew the three strips in the second 'Space:1999' annual.

Of course, he is much better known for other things, such as 'Forward From The Back Streets' in the latter 'TV21', 'Cannon' in 'TV Action', and 'Kung Fu', 'The Six Million Dollar Man', 'Dick Turpin', 'Battlestar Galactica' and 'Buck Rogers' for 'Look-In', as well as taking over 'Garth' for the Daily Mirror when Frank Bellamy died in 1976.

The interview will try and focus on the 'Joe 90', 'TV21', 'Countdown/TV Action' and 'Space:1999' input, but I'm open to questions about the rest of his career to put everything in context, as with the Mike Noble interview:

http://www.technodelic.pwp.blueyonder.c ... ble01f.htm

Over to you guys...

Shaqui

The Gerry Anderson Complete Comic History
http://www.technodelic.pwp.blueyonder.co.uk/homealt.htm

hi shaqui, i knew martin when he drew forward from the backstreets. and when he also did tarzan while don lawrence took a break,i remember when he drawed kung fu for look in i sent him some kung fu picture card for reference. give him my regards if he can remember me . cheers .

I'll mention your name John, and see what he says...

As one of the most prolific and stylish artists to work on Look-In through the 1970s though, I can't believe no-one has any questions for Martin Asbury - but the gods willing, I'll be interviewing him on Tuesday...

I once looked into the possibility of licensing the Look-In Space 1999 strips but they are now owned (although they probably don't know that) by IPC/DC Comics.

Chris

I was just looking at some of his Buck Rogers art :
http://www.lookinarchive.com/homepages ... ers_01.htm

and was wondering if he could give us a break-down of how he constructed a page and what art materials he used: inks, paints etc. And what techniques (air brush, sponging) etc.

Did he have to send colour roughs to Look-In for approval, or was he left to his own devices?

How did he deal with trying to get a likeness of the actors? Did he have a lot reference to work from?

In the 70's how much of a work-load did he have, ie, how many strips would he be producing a week?