1) What was your first published work?
My first published work was a graphic novel called "Ireland: A Graphic History" in 1995. I pencilled it and directed a team of inkers and colourists. It was 130+ pages and we had around 7 months to do the whole thing which, in retrospect was too tight. The big plus for me was that I got to work with Will Eisner, who acted as my creative director on the project. I never show it now, as I view it as my apprenticeship. Meeting and working with Eisner was a revelation. He was such a generous and supportive man and relentlessly positive. It's only now, years later that I realise how much I learned from him- not so much how to draw but what to draw.
I take inspiration from my surroundings, film and the work of other artists, 2000AD came along when I was a young kid and it immediately became the centre of my life. Legendary talents such as Brian Bolland, Steve Dillon, Cam Kennedy and many others were my idols. Later, I discovered European masters such as Jose Ortiz, Jose Pepe Gonzalez, Rafael Aura Leon and of course the late Jean Giraud. Illustrators such as Aubrey Beardsley and Harry Clarke were also an influence.
Every time I work with a great writer or contribute to a quality publication, it is a dream. Working for clients who appreciate my work is a dream. I would love to work on a Mean Machine or Judge Death story someday. I did some concept work for a film project a couple of years ago which I loved working on. It featured an abundance of well- orchestrated action and violence, plus the screenplay was dynamite. I earnestly hope it gets made, with or without my involvement.
The first is page one of a script by Gordon Rennie and Emma Beeby entitled "Primus Inter Pares" published in "Overload" by Martin Conaghan. It's a brilliant script, dealing with a zombie apocalypse in present- day Britain. The story culminates in an attack on 10 Downing street by zombie ex- Prime Ministers.
Next is a recent editorial illustration for Risk magazine. The client asked specifically for a classic Frankenstein's laboratory scene. The article's finer details were not imparted to me but the aim was to describe the unnatural and dangerous financial products cooked up by some bankers. Universal have copyright on the flat- topped cranium and neck bolts, so my monster had to steer clear of those.
Following that is a sort of teaser for a script by Gordon Rennie and Emma Beeby entitled "The Alienist". It's a horror story about paranormal investigators set in the Edwardian era. I can't say too much about it yet but I am delighted to be working with them again. I love their humour and the fact that it features plenty of gore is, again, a bonus! The first 2 pencilled pages from part 1 follow.
Next is a pencilled page from a graphic novel I am working on for Archaia entertainment. It's called "American Caesar" and deals with boardroom power struggles and financial skullduggery on Wall Street. It's written by Neil Kleid and we hope to have it out near the end of next year.
Finally, an illustration for Attitude magazine to which I regularly contribute. I am normally called upon to provide an illustration to accompany a short story which is great as Attitude hire some very fine writers.
I'll be continuing to work with Gordon Rennie and Emma Beeby on The Alienist as well as "American Caesar" along with all my regular freelance work.
I can't really imagine not having pursued this as a career, largely because it is the only thing I seem to be able to do decently! I imagine I would have pursued something else artistic, probably music.
and my folio on Illustrators Ireland: http://www.illustratorsireland.com/index.php/portfolios/gallery/eoin_coveney/
are the best places to see my latest work.
I recently joined Behance: www.behance.net/eoincoveney
I also have agency representation in London at www.nbillustration.co.uk