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Issue link: https://digital.macdirectory.com/i/1176476
issue), I look forward to taking anything I do now and in the future to as complete a form as possible. MD: How has comics changed over the years? And has this change affected your creative work? CA: Probably the biggest change in my career and art was going from doing 100% "physical" art to digital. Being a bit of a technophobe but wanting to keep up with technology at the same time, can be a bit trick y. But I took the plunge about 6 years ago and brought a Cintiq. I had a computer and Photoshop for ages before that, and I was scanning and touching up artwork since the early 2000's. I had even colored stuff here and there - so I was used to a certain amount of technology in my life. But generating full art from the computer was different. Now I LOVE it! The Wacom Cintiq has breathed a fresh new air of life into my art and, the most surprising thing of all, it was so intuitive and really didn't take long to master it. I'd be the first to admit though, when I say "master", I mean on a fairly basic level. But it works for me, and if I need to discover something new to do, I'll learn it there and then. MD: So which type of art do you prefer? Traditional or digital? CA: I don't think I'll ever go fully with one technique over the other. There's a place in my art for both the physical and digital. I'll assess each project as it comes in and decide whether it'll work best in whatever format. This week, for instance, I started off working on the Cintiq and by the end I was doing a watercolour painting. It's a cliché, I know, but a change is as good as a rest… variety is the spice of life… etc. MD: Tell us some of the projects you are most pleased and why. CA: I've been SO lucky with the fifteen plus years on The Walking Dead, because, with it's amazing success, it's given me the ability to pick and chose projects now, not just for the money, but because I like them. It's that's simple. What a great position to be in - no more hacking it out because it might get me on some upwards rung of a ladder … I can do stuff which I can always be passionate about now, which will always generate the best art. A far cry from when, early on in my career, I was doing a succession of licensed properties - Mars Attacks, X-Files, and The Crow. Two of those, I have to admit, were great to work on, but the X-Files was a different beast altogether. I had no end of problems with likenesses. I was initially approached to do it on the basis that I could generate the atmosphere of the show, and the characters faces weren't such an issue - but, as I found out, it WAS an issue. I'd been worn down after two years on the book and left. It wasn't the greatest experience of my life. When