Talking With Helmut Eppich

Helmut Eppich is a Canadian comic book artist and illustrator known for his dynamic storytelling and detailed artwork in works like Demon Boy and Astro Legion. Influenced by classic Superman comics, visionary artists like Curt Swan, Neal Adams, and Walter Simonson, as well as sci-fi cinema and literature, Eppich has cultivated a style that bridges realism with intricate world-building. His passion for comics and illustration extends to large-scale paintings inspired by the cosmos, as well as detailed depictions of futuristic technology and architecture. In our exclusive interview, he shares his artistic influences, creative process, and experiences in the comic book industry. From his time as a faculty member at LaGuardia Community College to his insights on crafting immersive environments, Eppich provides a deep dive into the world of illustration. Read on to explore his journey, inspirations, and the lessons he’s learned along the way!

Interviewee: Helmut Eppich

Interviewer: Anthony Andujar Jr 

QUESTION 1: What initiated your love for comics and illustration? Who were your influences from various mediums?

H.E: Grew up reading Superman comic books. Got used to Curt Swan’s pencils with Murphy Anderson’s inks. Swan drew an entire line of DC Comics Superman including my favorite, “Legion of Superheroes”. Curt Swan’s pencils were realistic with an everyman’s realism. Us baby boomers considered Curt Swan to be the quintessential Superman artist. His style was such that no matter who inked Curt’s pencils, his style always shone through. Curt had been drawing Superman since the early 1950s. George Reeves, “The Adventures of Superman” TV series added more enthusiasm to reading Curt Swan’s Superman. Each Curt Swan Superman comic I read with George Reeves’ voice, along with the cast of characters sounded in my head each time reading their counterparts in “Superman”, “Action Comics,” “Superman’s Pal, Jimmy Olsen”, “Superman’s Girlfriend, Lois Lane”.

My love for illustration evolved by admiring other comic artists’ work of the time: Neal Adams early photograph style work on “Batman”, “Green Lantern”, and especially “Deadman”. Jim Aparo’s gritty realistc, detailed style is seen in two Batman stories during his early seventies period, namely “The Bat-Murderer”, “A Monster Walks Wayne Manor” from “The Brave and Bold” line as opposed to his layer work. A Michael William Kaluta cover complimented the issue.

Michael Wm. Kaluta was an illustrator who brought The Shadow to life with writer Denny O’Neil, during the early 1970s with quite an abundance of texture and detail with panels accurately depicting period piece illustrations of 1940s fashion, automobiles, and architecture. He is also known for illustrating the highly complicated science fiction world of “Starstruck”, involving highly intricately, detailed, exquisite linework. Also illustrated an abundant number of DC Comics covers for superhero, horror, and science fiction titles. “The Shadow” DC Comic established Michael Wm. Kaluta‘s illustration career with realistic accuracy of The Shadow’s world.

“Manhunter” broke Walter Simonson into the comic book biz. Later on, he illustrated his Marvel first graphic novel “Starslammers”. The concept and story were originally his graduation project from The Rhode Island School of Design. Also illustrated a graphic novel trade paperback based on the science fiction classic film “Alien”: “Alien: The Illustrated Story”. Extremely detailed with exquisite character actor likenesses and precise rendering of spacecraft interiors/exteriors, uniforms, spacesuits, and, of course, the Alien itself.

Through Walter Simonson’s work, I got to know Howard Chaykin’s stuff through his painted graphic novels “Empire” and “The Stars My Destination” back in the seventies. They were the first official graphic novels to be published in the U.S. The French were already years ahead of us in the way of graphic novels Chaykin was more of an illustrator than a comic artist. Illustrated with lush colors and intriguing design work, “Cody Starbuck,” for the internationally famous French adult comic magazine, “Heavy Metal”. Became well known for his character Reuben Flagg in “Flagg”, an adult story set in a crazy future involving sex, violence, action, and shady politics. Was published as comics issues by the now-defunct First Publishing. Was also involved with illustrating paperback book covers as well as adult-oriented stories.

Michael Wm. Kaluta, Walter Simonson, and Howard Chaykin were influenced by early to mid-twentieth-century illustrators: Windsor McKay, Andrew Loomis, Norman Rockwell, Roy Krenkel, Howard Pyle, Maxfield Parrish, and Alphonse Mucha, among many others. Their influence also passed on to me.

After coming across Howard Chaykin’s work in “Heavy Metal” I saw other highly erotic, graphically illustrated, adult science fiction stories illustrated by French, Italian, Spanish graphic artists: Libertore, Girard Moebius, Pepe Moreno, Juan Gimenez, Vincent Alcazar, Phillipe Druillet.

Also were influenced by contemporary illustrators: Barry Windsor Smith, Alex Ross, John Romita Jr., Lenil Francis Yu, Chris Bachalo, and Travis Charest. All the illustrators mentioned continue to influence me.

QUESTION 2: You’ve been a staple in the LaGuardia Community College Art Department, having displayed large-scale paintings that spark the life of a booming, living, universe. What inspired those kinds of paintings?

H.E: Inspiration for the space paintings came from watching the PBS astronomy series hosted by Everyman astronomer Carl Sagan: “Cosmos”. Premiered in the early eighties. Was the first of many during the following decades. Covered philosophy, ancient astronomy theories involving Earth orbiting the Sun and visa versa, the pathetic destruction of the Library of Alexandria, human evolution from water to land, formation of Earth, Moon, stars, nebulae, galaxies, as well as the entire universe itself.

Other astronomy programs have aired over the years, some of which were narrated by various Star Trek celebrities, such as William Shatner and Patrick Stewart, showing colorful, abstract, or, rather, semi-abstract images of the universe, composed of exploding stars, boundless, vivid, billowing streaming interstellar dust, offering further inspiration.

The fun part involving these space paintings was researching and attending different light shows at The Hayden Planetarium and American Museum of Natural History Imac Theater. One witnessed blinding, star explosions, and odysseys through smokey, multi-colored clouds of nebulae of huge scales in size. Eyes sizzled and ears ached with thundering sounds witnessing blinding sight and deafening sound. Narrations were done by celebs Morgan Freeman, Harrison Ford, Leonard Nimoy, and Patrick Stewart.

Also would look at Hubble Telescope images of the universe. Sometimes nebulae images resembled my paintings! Always wondered, as I was working on the paintings, if some of them looked like real nebulae. Got my answer from The Hubble Telescope.

Other creative source for these space paintings came from warp drive effects, spectacular explosions from science fiction movies and astronomy programs.

Thanks to the late sculptor and LaGuardia Art instructor Eliot Label, I had a solo exhibition at 55 Mercer Gallery back in 1999. Professional Gallery sitter related to me before leaving each night he would stand at center of gallery, and take in the entire exhibition of space paintings at the same time. Got a charge looking over those paintings. Felt like he was really out there. Best compliment I ever had about the space paintings. Never did that with any other exhibitions. My exhibition was the only one.

QUESTION 3: Illustrated different kinds of material, from submarines to demon-infested environments to intergalactic spaceships. What is it about a story that gauges with the kind of material that you illustrate? What were some references or inspirations of architecture and technology that impacted your approach to illustrating environments traditionally?

H.E: There has to be a sense of plausibility. Believability for a fictional or fantastical situation about an important situation about an important object. It is the ultimate reason for the story to begin with. Alfred Hitchcock named it a MacGuffin. Its importance can be emphasized by adding more detail. The more detail added, the more realistic a MaGuffin will become to the story in general, adding a sense of underlying urgency.

In preparation for drawing submarines and intergalactic spacecraft, research must be done. Consulting design sketches from science fiction movies, books, and futurists’ illustrations such as the late Syd Meade who was famous for designing spaceships for the movie “2010: A Space Odyssey”. Or Ron T. Cobb for designing the interior of the NOSTROMO in “Alien”. Or Japanese animation books containing character sketches and drawings of future submarines chosen to be used in the anime feature itself. All that had to be done was to scrutinize the material and draw(pun intended) inspiration from it, providing material for original designs.

Also, for futuristic submarines “Migaloo Underwater Yachts” website displays various streamlined designs of what futuristic submarines might look like someday. Or models from old science fiction television shows such as “Voyage To The Bottom Of The Sea” for its main submarine SEAVIEW and smaller, compact Flying Sub designs.

A story concerning underwater pollution and depleted land masses utilizing underwater cities as futuristic-looking pavilions from the 1964-65 World’s Fair are redesigned as sprawling living and working complexes sprawled across the ocean floor in temperate zones at a depth still reachable by sunlight. Photographs along with images of different, large seaweed/kelp forests. When all of the above preparatory reference materials are obtained and assembled, inspirational ideas present themselves for conjuring original ideas.

QUESTION 4: When illustrating comics, what are some challenges and hurdles that you tend to face? What do you do to work around it? How do you find joy in the process when it becomes difficult?

H.E: I’m a glutton for punishment. Challenges and hurdles include assembling interesting story outlines and intriguing comic book scripts. Choosing what type of story you want to tell, and how to tell it. All the visual design work won’t matter unless there is a clear vision of what is going on. You may start with something in mind, but you are in danger of fizzling because the story is lost. There are instances when one has very plausible, general story concepts, but has no firm plot although design elements have been firmly established. Therefore, a workable script cannot be written. And it gnaws at your stinkin’ guts! Sometimes I’ll finish a script. Draw a few pages then stop. You realize the script sucks.

I usually look through comic book script books. Listen to science fiction movie television and movie soundtracks, browse through anime film art books, for Japanese character, science fiction weapon, gizmo, ship, and story location designs. Look up designs from old, classical Saturday morning science fiction cartoon shows. Visit a comic book shop.

When it really becomes difficult I listen to old spy, western, science fiction, big band, action-adventure, superhero, movie and TV show soundtracks. As well as classic rock and surfing CDs. Especially rock instrumental groups like The Ventures, the Chantays, The Shadows.

Especially when I’m finally in the groove and burning lead.

QUESTION 5: What’s a medium that you tend to work with? Acrylics, or inks? How often do you fluctuate between mediums?

H.E: When working comics I use pencils and felt tip pens for inks. Draw pages, xerox finished pencils. Ink Xerox pencils with black felt tip markers/pens, using fine point, ultra fine, or chisel point. Don’t paint much anymore. Hardly use acrylic now, if at all. Fluctuate between pencil and “inks” frequently when illustrating a story.

QUESTION 6: When illustrating projects, how do you sort out which you’d prefer to work with? You’ve worked on Demon Boy, amongst a few. Which projects tend to appeal to you?

H.E: Did Demon Boy because it was the first time I illustrated a horror book, and did it for experience and exposure to my work. Was unaccustomed to all the freakiness of devils, zombies, evil queens, and cemeteries. Definitely a big science fiction fan from way back. Was influenced especially by those cool 1950s flicks: “Conquest Of Space”; “Destination: Moon”; “Forbidden Planet” (supposedly influenced by Gene Roddenberry’s Star Trek), as well as contemporary science fiction movies such as “Silent Running”; “Outland”; “Alien”; “2001: A Space Odyssey”.

Science Fiction comics: “Alien Legion” illustrated by Larry Stroman); “Starstruck” illustrated by Michael Wm. Kaluta. Movie adaptations: “The Abyss”; “Outland”; “Alien: The Illustrated Story”. John Byrne’s run on “X-Men” and “Fantastic Four”. “Heavy Metal Magazine” science fiction stories were very graphic with intensely detailed stories written and illustrated by Phillipe Druillet; Juan Jimenez; Pepe Moreno; and Moebius. Japanese anime: “Gunbuster”: “Silent Mobius”; “Ghost In The Shell”; “Eight Man After”. Their characters, weapons, spaceships, and aliens appeal extremely highly to me and my projects.

QUESTION 7: Having been a faculty member of LaGuardia Community College for many years, how did that inform your life as an illustrator?

H.E: When working part-time had quite an abundance of drawing time all those science fiction comic pages plastering my office walls. Consulted Japanese art books, etc. Most of all studied futurist Syd Mead’s spaceship and sleek cars along with their console instrumentation; and shipboard interiors. Part-time work at LaGuardia allowed me to complete two parts of one story, namely the penciled and “inked” pages on my office wall. Never got around to finishing the third part. After the science fiction comics, I began the space paintings.

Used to buy science fiction film script books. Screenplays of Star Wars, Alien, Alien Resurrection, and  Bladerunner, among others. They contained major characters, sets, and weapon designs, along with small set mockups of spaceship interiors.

Late LaGuardia Community College art professors Bruce Brooks and Dennis D’Amelio were impressed with detailed penciled pages of astronauts, spaceships, aliens, intricately designed corridors with hatches, and computer rooms. They also made suggestions and recommendations about the pages. Had discussions about old and new science fiction films along with their set designs, as well as their evolvement from vintage Golden Age, sets to present-day science fiction movie sets: From George Pals ”Destination: Moon” and “Conquest of Space”, “Forbidden Planet” (Gene Roddenberry was influenced by this movie when creating star trek years later), “20,000 Leagues Under The Sea” (one of Dennis D’amelio’s favorite films), a Walt Disney classic, “2001; A Space Odyssey”, “Alien”, “Outland” (starred sean connery as a marshall at an asteroid mining station; takeoff on a classic western “high noon”), and The Trek flicks. Discussed special effects scene in “20,000 Leagues Under The Sea” giant squid sequence.

Dennis D’Amelio was a modelmaker and borrowed “The Making of Alien Resurrection” for a while. Wanted to find out if he could create some of those small set mockups. Asked Dennis if he recreated the huge 17-foot filming model SEAVIEW from the “Voyage To The Bottom Of The Sea” tv series along with its 3 by 4-foot companion craft, The Flying Sub. If he had time, money materials he said he could. Dennis also taught vintage aircraft and warships. Used to Three-Dimensional Design at LaGuardia. His students did excellent work in creating various types of small buildings, skyscrapers, and living complexes. Was a very passionate and humorous individual as well as extremely passionate, fair, and honest. He was admired by one and all faculty, staff, and students. Occasionally, Dennis would get pissed. He really looked at it. Better to run and hide. One knew something wasn’t right behind the scenes. Passed away in his studio. For an artist, especially for Dennis, it was the perfect way to go.

Bruce Brooks would discuss James Bond flicks, westerns, and old television series, as well as talk about classic espionage novels other than James Bond. “The Spy Who Came In From The Cold”, ”Smiley’s People”. Both novels became excellent movies and TV miniseries. Richard Burton was the spy. Sir Alec Guineas was Smiley. Especially British comedy: an off-the-wall comedy of “Monty Python’s Flying Circus” and “Fawlty Towers”. British spy series as well” Particularly Patrick MacGoohan’s “Danger Man” and “The Prisoner” series. “The Saint”, starred Roger Moore, who eventually, later on, would become James Bond. Also spoke about the Gerry Anderson marionette series “Thunderbirds” and “Captain Scarlet and The Mysterions”. Not mention British live-action cult classic “UFO”.

Bruce loved Giacometti’s sculptures. Occassionally, he developed some of his own sculptures in Giacometti’s style. Did pretty good too. Then he began doing his giant collage paintings and sculptures.

The topper of all this is that Bruce had future comic great Frank Miller in one of his classes back when Bruce started out as a teacher. As with the unexpected future popularity with Star Trek and Frank Miller: Who knew?

Dennis D’ Amelio and Bruce Brooks (our own Kirk and Spock), through our discussions of science fiction and espionage movies, spy and western television shows, along with comics, provided me with creative inspiration during those previously mentioned hurdles and challenges to maintain “standard course and warp speed”.

QUESTION 8: What are some lessons that you’ve learned as a seasoned illustrator that many up-and-coming illustrators should know?

H.E: Be a glutton for punishment. Be prepared for a lot of rejections. Other prospective illustrators will be vying for the same jobs as you. Despite all of those rejections keep at your illustration work so you always have new work to show, and enhance expanding your style. This is where strict discipline comes into play. Always illustrate what you like, whatever interests you. Your work will express confidence and quality. Occasionally, you’ll have to work on jobs just to pay the bills. Means gritting your teeth and taking illustration work you won’t like. Or are uncomfortable with. Always keep an eye on the competition. Observe other illustrator’s work, style, and clients to get an eye on what they’re up to. Some aspects of their work rub off on your work and add something positive to enhance your work. Lastly, most importantly, hang out at comic book conventions. Namely, artists’ alley. You converse with artists and writers on a personal one-to-one basis while showing them your portfolio. Those guys can (don’t know if they will, some are reluctant. also a business, you know) give you helpful, authentic tips and information regarding the entire comic illustration business on publishing houses and what types of stories and projects they are currently working and focusing on.

QUESTION 9: What would you say is the purpose of an illustrator, and how does that reflect your journey as one?

H.E: The purpose of an illustrator is to visually interpret a story and assist the writer in bringing it to life in one’s imagination and the page.

An illustrator must master all tricks of the trade, especially be it material-wise concerning pencil, ink, watercolor, gouache, and acrylic paint. All needs are ingredients for the illustrator to tell his story, or the writer’s story, depending upon on illustration format, be it comic book, graphic novel, paperback and magazine covers, single spot page size inside novels, and trade paperback mags.

My journey as an illustrator was a roller-coaster ride consisting of various independent comic book publishers. They offer more creativity than the strict superhero formats of Marvel and DC Comics. Independents I’ve illustrated for are Pacific Comics: “The Shell Game” (pencils and lettering); Blackthorne Publishing: “Starflight Squadron” (pencils, chapter three); Blackthorne Publishing “Blackthorne Three-In-One”(part three Starlight Squadron, unpublished); Speculate: “Cost Of Freedom” (short story anthology of science fiction comics in black and white); “Astro Legion: A Graphic Novel Script” (self-published graphic novel script through Ex-Libris, 2011, entire story with provided my illustrations).

The purpose of an illustrator is to tell an interesting, entertaining story with pictures utilizing adeptness with various tools and materials.

By the way, I used elements of “Astro Legion” to write a “Star Trek Voyager” story submission to Pocket Books’ Star Trek writing contest focusing on all series. Redid it by changing Voyager’s look similar to the original series color tone. Uniforms were a combo of Next Generation tunics with Kirk-era black trousers and leather wingtip boots. Brought Seska back with a vengeance for Janeway accidentally Killing Seska’s child. Chakotay and Nelix are sided with her. Nelix is a sadistic character wearing black leather. The climax of the story depicts a brutal hand-to-hand, knuckle-to-knuckle fight between Seska and Janeway atop a tower structure ringed with thin scaffolding upon which Janeway and Seska beat the crap out of each other. More changes are too many for description here. Oh. Janeway enters this alternate Voyager universe by transporter accident during the battle with Seska’s ship after retrieving a Phoenix Medical Algae. Voyager is severely struck by Seska’s ship during Kaneway’s beam over, the concussion of which tears open an aperture between field densities of both universes. The original series episode “Mirror, Mirror” is referenced in the story.

Received a great rejection letter from Pocket Books Editor John Ordover, editor of the Trek novel lines.

Checked off the best comment, and highest praise choice on a standard form letter. Scribbled in handwriting across the page. “Great story with powerful writing! Hope to see some of your work in science fiction anthology magazines!”

The good news was my Voyager story made the second read pile. The bad news was the last volume of Trek stories was to be published that Fall. Oh well. As Trek Tribble writer David Geralded lamented on reusing Trek plots for other novels,” Waste not. Want not.”

QUESTION 10: Where can readers find your work?

H.E: “Astro Legion” is available on Amazon and some other bookseller sites with sample reading choices.

Pacific Comics “The Shell Game” can also be found on the internet. The cover featuring a trenchcoat-wearing detective getting shot at made it one of a year’s best comic covers. Unsure of the year was a while back. “Starflight Squardon” part three would have been the final story chapter as well as the book itself. Unfortunately, the second issue of “Blackthorne Three-In-One” was canceled before the third issue could have been worked on. The original cover by the creator is on the internet. Perhaps the more stalwart comic people who are quite adept on the computer with the internet might be able to track down “The Shell Game” cover along with images of colored story pages. Art is very clunked and deserves better quality time. The cover is all over the internet along with the first issue cover of Starflight Squadron”.