An Interview with Neil Roberts

It's all in the Elbows

An Interview with Neil Roberts

I've had my fair share of nicknames over the years. Some have fairly obvious origins, others are the product of an in joke which, when you try to explain it to an outsider, just doesn't seem that funny. Several are unrepeatable and not generally used within kicking distance of my boots, and others are downright bizarre.

Nothing, however, comes close to the nickname of freelance artist Neil Roberts: Skinny Elbows.

Despite the nickname, Neil has produced some storming pieces of artwork, worked on computer games & comics, and is the cover artist for The Black Library's flagship series, The Horus Heresy. He's also on twitter where all the cool kids hang out, and kindly agreed to tell us a bit more about what it's like to be a kick ass cover artist for a New York Times bestselling series.

Hello Neil, welcome to the Literary Project. Pull up a chair and tell us about yourself!

So, from the beginning…

My name is Neil Roberts and I'm a Sci-Fi/ Fantasy/ Historical artist, illustrator and lecturer. I worked in the videogames industry for many, many years before becoming a freelancer. I've always been into comics, films, videogames since I was a kid. My first regular comic was the 80's re-launch of Eagle then I moved on to 2000AD and from there branched off into RPG's Warhammer and American comics. So, I feel like I've always wanted to be doing what I'm doing right now, it's just taken a bit longer than expected.

At school I got miserable grades in everything but Art and then I was off to Art College and eventually University where I studied on a Design and Illustration degree course. Whilst there, I knew I liked computers and art so I went looking for a job that would combine them both. Videogame production was the answer and I haven't looked back since.

How did you get into book jacket design?

I was made redundant in 2005 from the company that was (then) making 'Warhammer Online' creating in-game characters and the marketing art – from that I got a redundancy paycheck which allowed me a few months off whilst looking for another suitable job. In that time I worked up a few samples of art featuring Space Marines and sent them off to a friend at Games Workshop who forwarded them on to the good people at Black Library. They liked one of the illustrations, so after a few reworks, they bought it off me and the commissions started to slowly come in.

Why the focus Science fiction in particular?

I love Science Fiction. Its scope is so grand and can also be very intimate. It's a genre where anything is possible from time travel, exploring alien planets to a simple love story between a man and a green lady. As an artist that scope is very exciting (if sometimes a little daunting)

So how does the process work?

For book covers, I'm usually sent either a brief (which is the novel synopsis) or a few pages of relevant manuscript. From there I produce a few thumbnail ideas. Once one is chosen and approved, I work up the image in hi-resolution for print. It's a relatively simple process that works for me and my clients. Also, now it's a fully digital process, which is so more flexible.

How much input does the author have on the jacket design?

As much as they want. Some like the pleasant surprise of seeing the final thing, whilst others have a firm idea of what they want to see from the novel on the cover. Either way, my job is to make a cool looking cover that will sell the book to trade and sit on the shelves demanding attention.

If you could design a cover for any book currently in print, what would it be and why?

I would love to work on 'Dune' covers – aside from Warhammer, it's the weirdest and most completely realised science-fictional universe I know. Plus, Fremen stillsuits are awesome.

Do you keep abreast of new trends and fashions in cover design (for example, the current trend for dark covers with half a woman's face on it)? If so, do you take them into account?

I don't keep too abreast of trends – I work up what the editor wants, so I may well end up doing those half-face covers in the future if an editor requests it. However, any cover is done will be done in my style, which is what publishers want when they come to me. Remember, I'm a commercial artist so I like to make sure I'm always in work.

Artists and illustrators are a rare breed, we like to work by ourselves and produce art that artistically satisfies us, but also pays the bills. There's not much competition or jealousy in what each other is doing, we're just happy to be 'plowing our own furrows'. If anything we're curious as to what, and how, other illustrators work.

How far in advance of publication are the jackets usually finished?

On the whole it can be a full year before the book is out, so the publishers can get their books into the trade catalogues to sell to the retailers. The cover acts as the first point of reference in getting the products on the shelves (or websites).

How competitive is the market?

Well, there's always the worry that work will dry up or a cheaper alternative will take work away. But on the whole, I believe, if you have a sell-able talent and can deliver work on-time and on budget, you will always have work, that will become your reputation and a good reputation is everything when you're a freelancer.

As a freelancer yourself, would you recommend getting into this field to newbies, or do you generally believe that you are insane for not having a 9 to 5 job?

It can be very difficult to get started, but once you have a few commissions under your belt and you have proved your talent, I don't see why anybody would find it difficult.

I worked in videogames for over 12 years, doing the whole 9-5 thing with many more hours in between, which was great… for a while. Then I wanted to look for other artistic challenges, which is why I became a freelancer.

I remember the first morning being freelance after I'd finished work. I was sitting in front of the computer in a cold sweat, wondering if I'd made the right decision. In hindsight it's one the best things I've ever done. I'd definitely recommend it to those with the right disposition.

If you could sum up a key piece of advice for new illustrators and artists wanting to make a career in jacket design, what would it be?

Be good – in fact, be very good at what you do. And charge accordingly.

And finally; Skinny Elbows?

Aah, the 6 million dollar question! Let's just say it involves a story I wrote when I was about 7 years old, which involved the Space Shuttle and a person called Peter Parker!

The lovely Neil can be stalked on twitter, his blog and his website. He'll also be putting in an appearance at Black Library Live in March, so remember to say hi and take his card so you can harass your future publisher to commission for the cover of your science fiction masterpiece. I mean, the guy has the nickname Skinny Elbows. I'd hire him just for that.