Andy reflects on the experience: “I still remember the book to this day, it was Detective Comics #388 and it had a great Joker Cover. When you flipped to the first page there was a dramatic shot of Batman and Robin driving through the dark facing a giant Joker Moon! Wow! The story brought Batman and Robin to the Moon and as a little kid I was fascinated not just with Batman but with Astronauts and Dinosaurs so this story really appealed to me, even if I couldn’t read the words. The backup story featured Batgirl with art by the great Gil Kane, and for some reason Batman was threatening her with a gun! I had to know what this story was about so I taught myself to read with this book— little did I know the story was going to be continued and it would take me about twenty years to get the second part of the story!”

The love of comics led to the study of film, both silent and early 20th Century Cinema and in those formative years before VHS the only way to see these old movies was on late night TV or at revival showings at the local library. By the time Andy entered High School he had bought an early VHS Player for $500 and began a collection of films for studying.

Encouraged by his High School Art Teacher, Tony Trippi, he studied a variety of mediums including film-making, photography, silk screening and the earliest aspects of digital design.

Andy wanted to go into film but recognized the difficulties in working with studios and financiers. With comics you had an unlimited budget to tell your story.

Studying with Will Eisner via his career studies at The School of Visual Arts in New York (sometimes taking the same class 2-3 times as a non-registered observer) Will recognized Andy’s talent and his drive to successfully launch a comics career. Andy would later study with Paul Ryan whose work on THE FANTASTIC FOUR broke Jack Kirby’s tenure record and Jack Kirby who he met at a comic convention in New York City.

Andy began sending in samples to comics publishers, initially getting rejection letters, some with encouragement and some with skepticism but he continued to send in samples undeterred. After nearly 400 rejection letters they surrendered and he was given his first assignment at Marvel Comics on a Team Up book.

One of the best gigs he ever did was to provide artwork and graphic design for TV’s Batman, Adam West who he got to know personally.

Years later, after producing a string of graphic novels for a variety of publishers all over the world Andy would team up with his wife and fellow artist Veronica to work together on BLACKWOOD for Dark Horse Comics and the SABRINA THE TEENAGE WITCH revival for Archie Comics.

Andy continues to work in the comics field today with several projects currently in the works.

FAQ’s

Q - Can you look at my samples and give me some advice?

A - I’m sorry, I wish I could, but in a creative field there are way too many instances of coincidental projects being developed— ARMAGEDDON and DEEP IMPACT were both made around the same time. I would hate to have you think I stole your ideas. I do teach classes which you can find out more about over HERE. Among the offerings are ones that include critiques of your work (you sign a disclaimer).

Q - Do you have any advice for new freelancers? I’m just starting out and I’d love some insights!

A- Boy are you in luck, I have a book on Surviving Freelance that will be coming out soon— stay tuned for details.