CROM Updates 047 with Jim Gullett - One of the Darkest Crom Artists I Know!
Interview with Jim Gullett: The Darkest Artist I Know Drawing Crom the Barbarian…
Kurt Brugel: How did your collaboration with John Michael Helmer of Lucky Comics on Crom the Barbarian come about? And were you familiar with Crom before working on him?
Jim Gullett: I actually found Lucky Comics through Facebook. I put together a portfolio and sent it to John, saying I’d love to draw some superhero comics. He responded with, “I don’t think you’re a superhero artist, but I have this Crom the Barbarian series I’d like you to work on.” At the time, I’d never heard of Crom! After a few days of not hearing from John, I just started drawing the first issue on my own. I told him, “Here’s what I’ve drawn; just add word balloons!” He let me run with it from there.
Kurt Brugel: I appreciate that! It sounds like you have a spontaneous approach. You’ve worked on other projects as well. Do you prefer working traditionally, digitally, or a combination of both?
Jim Gullett: My process is mostly traditional—pencil, paper, and ink on Bristol. But I’ve started adding digital elements like gray tones. For a recent Lucky Comics project, I’ve been laying out panels digitally and then uploading each hand-drawn panel. It’s like a 50-50 mix.
Kurt Brugel: What initially drew you to the world of comics, and what were some of the early influences that shaped your artistic journey?
Jim Gullett: I grew up in a small town, and the local grocery store had a comic rack. I remember picking up issues of Classic X-Men and Spectacular Spider-Man. Sal Buscema’s style had a big impact on me, as did the works of Todd McFarlane and Rob Liefeld in the early ’90s. Later, discovering underground comics by R. Crumb and the Vertigo titles like Sandman and Preacher broadened my perspective. Those styles still influence me today.
Kurt Brugel: Many indie artists feel overwhelmed managing the creative and business sides of their work. How do you balance those, and what advice would you give to emerging indie comic creators?
Jim Gullett: It’s tough. The creative side is always the priority for me, but the business side is essential to reach people. I’d say don’t be afraid to collaborate, but retain ownership where you can. Build a small but loyal following; they’ll support you if you stay authentic. And don’t ignore online marketing—it’s worth the time investment. Indie artists need that balance to thrive.
Kurt Brugel: What do you see for the future of comics, both for the industry and for your career as an artist?
Jim Gullett: I think comics will become even more personalized. With crowdfunding and platforms like Webtoon, creators can tell stories in their own way, free of the traditional boundaries. For me, I’d love to work on something big, maybe even splash pages exclusively, to make my work stand out. There’s just so much freedom now to experiment.
Kurt Brugel: You mentioned using both traditional and digital tools. Can you walk us through your typical process from concept to finished page?
Jim Gullett: Sure! I usually start with rough pencil sketches on Bristol board, then ink them traditionally. For layouts, I use a digital tool called Comic Life, which helps with panel organization and adding word balloons. I scan and edit everything digitally for final touches like gray tones and lettering. This mix lets me keep that hands-on feel while making tweaks more efficiently.
Kurt Brugel: Lastly, who’s one comic book artist or creator whose work you find inspiring, and why?
Jim Gullett: Lately, I’ve been drawn to the work of Michelle Fife and his series Copra. His art feels incredibly personal and raw, and you can tell it’s a passion project. Even if I don’t connect with every story, the artistry speaks to me. He’s proof that you can create something deeply meaningful in the superhero genre without relying on big publishers, which inspires me to keep creating on my terms.
Kurt Brugel: Thanks, Jim. And lastly, where can people find your work?
Jim Gullett: Right now, I’m only on Instagram under hillbillyinexile_. I used to have a website, but I struggled to get enough traffic there. I’m also working on a new project for Lucky Comics and hope to reboot Robo Lords in 2025.
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Here are three education points from the interview that could benefit indie comic artists and collectors:
Balancing Creative Independence and Collaboration:
Jim’s experiences highlight the importance of creative ownership in indie comics. While collaborations with publishers can provide valuable exposure, retaining control over original work ensures that artists can shape their careers without unexpected limitations. This point emphasizes evaluating the benefits and drawbacks of external publishing vs. self-publishing in the indie comics space.The Hybrid Art Process – Combining Traditional and Digital Tools:
Jim’s approach to using both traditional inking and digital tools like Comic Life for layouts and gray tones shows how hybrid techniques can streamline comic creation without sacrificing the tactile qualities of traditional art. Indie artists can learn from this mix, experimenting to find their own efficient blend of traditional and digital methods.Finding Your Niche and Building a Loyal Audience:
Jim stresses the value of building a “tribe” or loyal fan base, especially for indie creators. His advice to stay authentic and connect with a specific audience reinforces the idea that success in indie comics often comes from cultivating a smaller, engaged following rather than chasing mass appeal. This strategy helps artists focus on genuine connections with fans, leading to more sustainable support over time.
