of the problem is he’s not creating any new paintings, he’s
focusing all his energy into comics art.” This is what OPUS was designed
for, to introduce a new generation to the work of Barry Windsor-Smith.
the old stuff, The Devil’s Lake and all that, people
don’t even know about that anymore, but I think that OPUS will
be a good vehicle. We’re hoping for the middle of the year for
the first volume.” Fantagraphics publisher
Gary Groth says, “OPUS was originally submitted to me
as a quarterly magazine. I analyzed it both from a financial and aesthetic
point of view and suggested an annual volume, rather than put out a
periodical and gather issues at a later date.” One of the constants
heard about Windsor-Smith is that he demands a certain level of creative
control and quality in presentation. Groth felt “This would be
giving it its best shot, presenting it as a book. Both Barry and I
will go full out on OPUS, with the best quality and paper
and so on, stuff that can’t be done in a periodical.”
this we move onto films, talking about the work of Peter Greenaway.
We make coffee and take a tour of the studio. Barry’s area is
bright and airy. This room, with its large windows and camera on tripod
facing outward, was chosen, Barry says tongue in cheek, for the view
summer, I’m barely drawing . . . I’m just sitting there
watching all the pretty girls walk by.” The
studio is crammed with drawing tables and computers, mixed in with
antique books and the odd statue or chainmail headpiece. Among the
treasures, we find about sixty of the pages of MONSTERS,
the sociopolitical horror story he is doing for DC imprint Vertigo.
Alex: “In terms of the economics of running a studio . . .
one of the things that we’re dealing with on MONSTERS is
that when you go to a place like DC, with its corporate structure
and page rates and all, and though they’ve made it flexible
to a degree, but what they don’t account for is the work going