So what was it like receiving that first paycheck working in your desired field?
JF: F'n amazing!! Their's no better feeling than getting paid for what you love.
JF: Todd Mcfarlane, Jim Lee and all those 90's guys. When it comes to coloring Brian Haberilin, Alex Sinclair, Aron Lusen, Christian Lichtner and Thomas Mason.
You did excellent work on The Living Corpse. What was it like working at Dynamite Entertainment?
JF: It was a different style for me and it was fun, pushing me to think outside my artistic box. Since I was so used to the super hero book.
Some animators use Photoshop, others like Corel. Which do you use, and what do you see as the main programs between the two?
JF: Photoshop!!! It's practical and to be honest I haven't really played with Painter, I don't really see the necessity of learning Painter right now when Photoshop does everything I need it to.
Anything currently in the works that we should know about?
JF: I just finished some trading cards for Marvel and I'm currently coloring Deathstroke for DC. Blindside with Marat Michaels and some things I cant talk about with Image. Creator owned stuff is on the way though.
I noticed on your deviantART.com profile that you appreciate the art of guitar building. Are you a musician?
JF: I've been playing drums and guitar most of my life, I've played in bands, but right now its mostly its a hobby.
If someone wanted to hire you for a project where should they look?
JF: When my schedule frees up and if anyone is interested my contact info is out there.
Excellent. Thanks for your time.
In a tough industry you manage to pick up a new gig almost every year. Since 2005 you’ve been employed alternately as a colorist for comic books and graphic novels, an animator and video editor for TV commercials, and now again as a colorist over at DC Comics Publishing. In a similar fashion, ninja’s must be versatile and able to adapt to changing situations. Are you an associate of the ill-omened Guild of Assassins?
(quick note: He is currently working for DC comics. In the past he worked for IDW)
JF: If I was a member of the guild I wouldn't be able to tell you, and if I was and I told you I'd have to "silence" you.
Ya, sure. So where did you “officially” acquire your training?
JF: Officially I studied at the Art Institute of Fort Lauderdale to become an animator for film and video. The comic book coloring came up mostly as a hobby that I figured wasn't going to take off. I started on sites like Deviant art and posting pieces I'd done with other artists on Facebook. My first pro comic gig was working for Mario Gully on his creator owned title "Ant Unleashed" for Big City Comics back 2008, and man did I suck. I had never done interiors before and was nervous about taking the book, I said yes and did my best which led to other projects coming in. So "officially" I learned the comics on my own from trial and error, putting me where I am today.
So walk me through it. You graduated college, and then what? I imagine that you and all of your classmates were greeted eagerly by animation big-wigs holding out glossy business cards on the broad marble steps leading away from campus out toward the real world. Is that about right?
JF: I wish it was like that, it would have made life so much easier. I graduated and at my school we had portfolio review that allowed the "big-wigs" to see all the new talent or as I like to call it fresh meat. I myself lucked out and was hired on the spot by a company called "Animatic Media" that did preliminary animations for television commercials for brands like Coke and Intel. I was excited, I did that for 3 years, although the job was good my heart was always in the comic books. That's when I started working on the comic stuff again trying to make it my priority. I landed some nice jobs doing covers for some independent books. I started making connections and going to conventions to meet some of the people I had been working with, thats when I met the guys from the Living Corpse over at Dynamite.