Indie Comic Artist Eric McMeans on How to Keep Creating through Uncertainty
In this edition of The Creative Wayfinder’s Compass, independent comic creator and all-ages comic book Raptor Boy artist Eric McMeans shares what it means to return to your creative roots with new eyes, how routine can be a tool for flow, and why the simple act of drawing is still worth it. His story spans childhood cartooning, pandemic rediscovery, and the evolving practice and discipline of learning to tell clearer, stronger stories. Let’s dive right in!
“Create the comics you would want to read. Chances are, if you like it, others will too.”
Eric McMeans
Who are you and what do you create?
My name is Eric McMeans, and I am an amateur comic creator. I’m currently the artist for an all-ages comic book called “Raptor Boy,” and I regularly contribute short stories to the Mid-South Cartoonist Association’s publication “The Good, the Bad, and the Sketchy.” I hope to earn the title of “Cartoonist” one day.
What first inspired you to pursue your creative path, and how has that inspiration evolved over time?
Newspaper comic strips were a huge inspiration to me growing up. Actual comic books were a rarity, so the funny pages were where I got my fix. I loved animated cartoons as well, so I knew what I wanted to do early on: draw cartoons for a living. The barrier for entry into comics vs animation seemed easier to pass since it only required a pencil and some paper, so comics it was. I drew my own characters and stories, burning through stacks of computer paper on my way to the Sunday pages.
Once I got to High School, however, comics took a backseat as I became focused on academic art, and I would eventually go to college in hopes of getting a fine art degree. Well, that didn’t happen. I ended up dropping out and settled into working at restaurants. Then the pandemic happened, and I was out of work for a year, giving me the perfect time to refocus on my original passion for comics creation.
Time away from the daily restaurant grind gave me the opportunity to deep-dive into the infinitely vast ocean of comics that goes beyond the typical superhero and comic strip stuff, expanding my appreciation for all forms of illustrative storytelling. From the most detail-oriented manga to an outsider artist’s fanzine, there are things to learn from all the various styles, themes, and subject matters explored by creators. It’s truly overwhelming sometimes how many approaches one can have when deciding how best to tell a story, but I guess it’s in those decisions where an artist shows their worth.
Can you walk us through your creative process? Do you follow specific rituals or habits to get into the flow of your work?
I often like to start the day with quick figure sketches to loosen myself up before jumping into whatever project I happen to be working on. I break in the mid-day for exercise and errands before coming back for my afternoon/evening session- I believe separating my day into two shifts helps make the workload more digestible. I’ll usually put on something in the background while I work, whether it’s interviews with other comics creators, music, etc. I find having a routine takes the guesswork out of the day.
What themes, ideas, or emotions do you find yourself returning to in your work, and how have they shifted over time?
My style is very “cartoony,” meaning the visuals are usually playful and expressive, focusing more on the bombast than the content. The stories themselves are usually light and humorous, and the characters are usually quirky, not deep. As I continue to learn and write my own stories, I’m becoming more thoughtful about creating rounded and relatable characters despite the cartoony aesthetic. I’m not a great writer, so it’s tricky to find a balance. I’m actually in the process of brainstorming a future project that will focus more on the characters than the plot, but it’s still in the beginning stages.
What’s been your biggest creative breakthrough, and how did it change the way you approach your art or writing?
Realizing that being a good artist doesn’t automatically make you a good comic artist. Sure, you can draw every muscle of the body or render a beautiful skyline, but can you tell a clear story that flows well from panel to panel? A confusing page layout for the sake of a cool image is extremely frustrating as a reader- just look at almost any of the early 90’s Image Comics to see what I mean- so I’ve been more conscious about how I design my own pages. I may not be the greatest artist, but I can draw a coherent story.
How do you navigate periods of creative block or self-doubt, and what techniques have helped you push through?
In my experience, the simple act of doing is enough to chip away at a creative block. When my brain doesn’t want to cooperate, I just turn it off and trudge through. I believe in the snowball effect, and once I push myself past a point, the momentum will take over. Even if I think what I’m doing isn’t working, I know that I’ll get something out of it, good or bad. When I need an extra shot of motivation, it also helps me to watch other creatives work on YouTube. It’s usually enough to get the juices flowing.
How do feedback and criticism play a role in your process? How do you decide what advice to follow and what to set aside?
I absolutely need feedback on my work. Comics creation is a lengthy process, and after staring at a piece for so long, I lose the ability to look at it critically. Without the deep insight from my peers or the casual eye of a non-comics reader, it’s hard for me to see the faults in any particular piece, no matter how glaring.
I typically appreciate my peers’ opinions and hold those in higher regard; however, in this industry, you have to be on board with the general population’s takes. I have a pretty good understanding of where my skills are, so I tend to disregard any extreme takes on my work.
How do you balance personal creative expression with the commercial or external demands of your work?
I’m currently doing the artwork for an all-ages comic called “Raptor Boy,” so I need to be conscious of keeping the visuals PG, especially during the fight scenes. I need to keep things kid-friendly but also respect their maturity. It can be a tightrope to walk.
I simultaneously create short stories for other publications where I get to workshop whatever random ideas I have at the time. These are great for helping me to develop my own voice.
What’s one of the most challenging projects you’ve worked on, and how did you overcome the difficulties you faced?
When I was initially recruited to do the art for “Raptor Boy,” I only wanted to do the line work, but the writers/creators asked me to do the coloring and the lettering as well. It was daunting, but I already had some baseline knowledge of the subjects, so I dove in. Coupled with tutorial videos, I read books on coloring and lettering and began studying these things in the comics I was reading. I’m a much more well-rounded comic creator now as a result.
How do you stay motivated and disciplined, especially during times when inspiration is lacking or inconsistent?
I remind myself of the progress I’ve made since getting back into comics creation and the work ethic I’ve shown by doing so. I’m confident that if things aren’t clicking now, I will find my way eventually. Understanding that inspiration won’t always be there is just a part of the process. I know what I am and what I’m trying to do.
What advice would you give to someone just starting out, or to an artist who’s struggling to find or trust their creative voice?
Keep going, and don’t become too focused on today. It’s the combination of all your efforts over time that will give you results. Be open to suggestions, and don’t pigeonhole yourself into any particular style. And if you’re creating comics, create the comics you would want to read. Chances are, if you like it, others will too.
M.K. Hancock here. One of my favorite things about this interview with Eric McMeans was hearing how he approaches cartooning not just as a technical skill, but as a long game of creative discovery. I also love that he doesn’t try to pretend comics are easy. He talks honestly about the learning curve, about balancing fun and function, and about finding your style by making the stuff you actually want to see in the world. That’s a lesson all of us creative people can take to heart.
If interviews like this feed you, I’d love to send more your way. I share one every month(ish) from creative folks across fields and backgrounds, each answering the same 11 questions. Eventually, these interviews will be compiled into an affordable book.
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