And often get frustrated when I can’t find the time to just free draw or art zone out lol. I wake up everyday not just wanting to create but to get the finished work out there. It all builds and grows if you don’t stop. Getting your work in the hands of publishers or even doing it yourself and connecting and building your fan base is worth it no matter how long it takes. But I think the getting better is in finishing and getting it out there. ![]() Forever thinking our work isn’t “good enough” and spend time always developing but never getting out there or trying a little but after some rejection, thinking we need to spend endless amounts of time perfecting our work before trying again. This does not mean I think my work is perfect, because I’m constantly learning and challenging myself as an artist, but in regards to pursuing work, and getting it into the hands of actual people to purchase and enjoy.Ī lot of artists can get stuck comparing themselves to ideals or favorite creators/professionals that we idolize. ![]() Whew! Intense but awesome question. My first answer dealt with some of this but to elaborate I think the biggest boon to my career is that no matter what I’ve always thought I was good enough. Definitely the best decision I made.Ĭan you open up a bit about your work and career? We’re big fans and we’d love for our community to learn more about your work. Met my wife by coming up to Savannah too. And I still find somehow find time to teach sequential art at SCAD.Īll in all getting over my fears of starting over and taking such a big risk financially had its downs but the ups have been extremely rewarding. Now I’m blessed to have a growing freelance career, with books like Pax Samson, Alabaster Shadows and Jeremiah Justice, even won an Eisner (comics’ highest award) for being a part of the Elements: Fire anthology. This focus not only helped me make new lifelong friends with similar interests but allowed me to re-connect and work with older friends, (including my co-creator on Pax Samson, Jason Reeves) traveling to comic conventions and showing editors and publishers our portfolios. I spent 2 solid years just focused on making comics and finding work in the industry. Leaving behind family, friends and a great support network behind in Louisiana was not an easy at 25 but it was the best decision I made towards doing what I love to do. I took the FEMA money I received to help me get started in the masters program at the Savannah College of Art and Design, majoring in Sequential Art. But after the hurricane, and after a graphic design gig that was not the healthiest work environment for me I decided to re-focus and pursue comics completely. At the time I’d just finished my undergrad studies with an emphasis on painting and graphic design, and while I was still landing some work, including some comic book related freelance, the doors just weren’t opening fast enough. This all came to a head when hurricane Katrina hit. Regardless of how it began though I adapted, learned, took side paths but never gave up on that desire to learn and tell stories. I suspect she did so to encourage but also help keep a 5 year-old, who couldn’t wait to tell you about his newest superhero creation, quiet during church lol. When I was a kid my grandma gave me pen and paper to write and draw the many stories that populate my mind and I’ve never stopped. Never letting anything that happened to me in life stop me from finding a way to become a storyteller. Hi Rashad, other than deciding to work for yourself, what else do you think played a pivotal role in your story? ![]() We had the good fortune of connecting with Rashad Doucet and we’ve shared our conversation below.
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