So first I wanted to work for Disney, then Marvel, then 2000 AD. I think at that point I drifted away from US reprints, I wanted science fiction and 2000 AD fit the bill perfectly. The real hook came with Star Wars, I was obsessed. I was hooked pretty early, I’d buy a lot of the British reprint books. My elder brother had a friend who lent us Power Comics, they reprinted Marvel Comics before Marvel had an official foothold in the UK with The Mighty World of Marvel in 1972. This is the very early '70s, I was born in 1964. Later there was a Disney comic, that was probably when I started copying the drawings, when I first made a connection to how these things were made, not that I thought of it that way at the time. The little pocket money I had went on Whizzer and Chips. Stuff like The Beano, The Dandy, Beezer, some boys adventure stuff like The Hotspur. I suspect they were mostly passed on to us, we didn’t have a lot of money to spend on such things. For the most part that meant British humor comics, simply because that was what was available. Fegredo's Joker illustration for the VS System trading card game.ĪLEX DUEBEN: What comics were you reading as a kid? What things in general obsessed you and made you go, I want to be an artist?ĭUNCAN FEGREDO: As I kid I read any comics I could get my hands on. More recently he illustrated and co-created MPH with Mark Millar.įegredo and I exchanged e-mails to talk about his work and career, a disastrous project at Marvel, and why he loves detailed artwork but finds his finished work dissatisfying. He’s contributed to anthologies including Weird War Tales, Flinch, Dark Horse Presents and drawn issues of Tom Strong, House of Secrets and X-Force. Over the years he’s been a prolific cover artist, working on everything from Star Wars to Shade, the Changing Man and Aliens. For the then-upstart publisher Oni Press, Fegredo chronicled the escapades of New Jersey’s two greatest stoners, Jay & Silent Bob, written by Kevin Smith. Since then, Mignola, Fegredo and Dave Stewart have collaborated on the short graphic novel The Midnight Circus, which marked a stylistic shift for Fegredo and featured some of his finest work.įegredo got his start working with Dave Thorpe on Heartbreak Hotel, drew comics for Crisis and 2000 AD, and went on to draw the Vertigo Kid Eternity miniseries written by Grant Morrison and Millennium Fever written by Nick Abadzis.
Drawn years ago when relatively few other artists had drawn Hellboy, Fegredo managed to put his own mark on the character. These served the epic conclusion of Hellboy’s saga, ending with the character's death.
His other great collaboration is with Mike Mignola, for whom Fegredo drew multiple Hellboy miniseries: Darkness Calls, The Wild Hunt, and The Storm and The Fury. Enigma in particular remains a brilliant work three decades after it was published: a look at sexuality and repression, superheroes and fantasy, with a " Definitive Edition " published by Berger Books, an imprint of Dark Horse, last year. From Enigma, to Girl, to Face to, one of the all-time great Spider-Man stories, “Flowers for Rhino”, the two crafted beautifully told stories with unique voices, each of which had its own style and approach. His collaborations with Peter Milligan are legendary. Features “The Closer They Come To Being Finished The More Compromised They Become”: An Interview with Duncan Fegredoĭuncan Fegredo’s career ranges from being one of the defining Vertigo artists, to the infamous British magazine Crisis, to the killer of Hellboy.
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