"This project has had a number of different artists tied to it along the way," said Land. "I think it was fate that we ended up with Ramon. He's perfect for this book, and I knew the minute I saw his work that I wanted him for Joker/Mask. It's been a real treat working with him."
It was also fun to talk with Bachs to see how the young Spanish native feels about his first work for an American comics publisher and where he finds influence for his endearing and exciting art style. Here's what he had to say about his work on Joker/Mask, coming in May from Dark Horse:
SE-G: What did you first think when you got the phone call from Dark Horse asking if you would be willing to be the artist for the upcoming Dark Horse/DC crossover, Joker/Mask?
RFB: I thought: "Oh, My God!" Seriously, my first contact with Dave [editor Dave Land -- ed.] was via e-mail, and although I had done a pin-up for the series Spyboy, I was very surprised they offered this great project to a completely unknown artist like me. It was a Joker-Mask comic-book, no less...wow!
SE-G: Have you done any other major comics work for an American publisher?
RFB: Nope, this is my first work for an American publisher. Well, in fact, my first work can be considered ten pages of a promotional Spyboy comic book for the Motorola/Dark Horse advertising project.
SE-G: That was a fun project, and it looked great. How does your work for Dark Horse compare to comics have you done in your native country?
RFB: I have had the great luck to draw some black and white comics in my country. I usually get work on adventure comics, which are my favorite kind of comics. Maybe the most outstanding of them is Manticore, which has been getting a very good reception in general. It's about a girl who's always in big troubles in jungle adventures, without missing the light comedy way. I been able to work with J. Busquet and J.M. Polls, writers who are well known in my country. The only handicap is that you can't live very well drawing comics here in my country, but you can work on them as a hobby.
SE-G: And I don't want to make any assumptions -- what is your native country?
RFB: I was born in Santa Coloma de Gramenet, Barcelona, Spain. I don't wanna lapse into tangents here...olé! Oops!
SE-G: Have you noticed any differences between working for an American comics company and working for a European company?
RFB: Well, I don't know how well you know European publications in America, but I think in general , American comics is more of a business with art at its center. In the European industry, comics are seen more as an art form than an industry or business (this maybe looks like another tangent!). A perfect situation for me would be the combination of both, art & industry, which is why I think I'll like working with American companies.
SE-G: I think that's the benefit of working as an artist for a company like Dark Horse. Hopefully, we're paying you well enough to eat, and your art on this project is fabulous, so you should feel good about that part of it. How do you like working with Dave Land? He's been a huge supporter of you since he first saw your work.
RFB: Oh, Dave is a wonderful fellow; I'm very surprised by his kindness, even for someone who never meet me before. I hope we can meet each other in person in the near future, and that I can lend him some Jethro Tull CDs (haw, haw...)
SE-G: Since you're not a native English speaker, I'm curious how you work from scripts in English. I know you can read English fine, but is it easier for you to pick up on details if a script is translated from Spanish before you start?
RFB: I was afraid about not understanding the scripts too well and having problems with that, but Henry Gilroy writes with an absolute clarity of concept, and I haven't had any kind of doubt about what he wants to happen on the page. Thanks, Henry! And Dave has been very communicative, too, so we've managed to avoid any misunderstandings that might have happened. Speaking English is a completely different thing. It's still difficult for me to speak English, but I assume that it's a matter of practicing it. Yes, it would be easier for me to work with a translated script, but if I only did that, I wouldn't get a chance to improve my English, would I?
SE-G: Do you read comics as a hobby, either Spanish comics or American titles?
RFB: Of course I read comics. I've always enjoyed them. But it's a pity that for quite awhile now, I haven't had a lot of time to do it. I suppose now I read more for working reference than for reading as a hobby. A few years ago I enjoyed reading comics more than I do now. I haven't spent so much time considering story-telling and perspective before!
SE-G: It's great that you're paying close attention to that now, and I think it shows in your work. You have such a unique and graceful art style, but it's still very fun to look at...which other artists have you been influenced by?
RFB: During my learning period I was influenced by a lot of artists, from Bernie Wrightson, Frank Frazetta, and Mike Mignola to Arthur Adams. I'm still learning, of course, but I think I've nailed down my own style. And I have a lot of admiration for Bruce Timm and Jeff Smith's work (who I met in the Aviles convention, here in Spain).
SE-G: What would your dream comics project be? Have you ever written comics?
RFB: My dream could be work with characters of my own some day, and make beautiful action- figures with them...but that might take some time. Seriously, I only hope to continue working, improving day by day, and be able to make my living as a comics artist for as long as possible. I wrote scripts only as a rookie, but soon I knew that my real wish was to draw.
Check out the new miniseries, Joker/Mask, when the first issue hits comics shops May 31.