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
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