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Alison Sampson was born in Yorkshire in… |
Alison Sampson was born in Yorkshire in… |
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She cites ”[[2000 AD (comics)|2000AD]]” and [[Carlos Ezquerra]]’s depiction of ”[[Judge Dredd]]” as early influences on her art. She studied architecture as a first career, but was once again drawn to comics illustration after reading ”[[Watchmen]]”.<ref name=”:0″>{{Cite web |date=2014-04-14 |title=Interview with Alison Sampson – Zona Negativa |url=https://www.zonanegativa.com/interview-with-alison-sampson/ |access-date=2025-12-11 |language=es}}</ref> |
She cites ”[[2000 AD (comics)|2000AD]]” and [[Carlos Ezquerra]]’s depiction of ”[[Judge Dredd]]” as early influences on her art. She studied architecture as a first career, but was once again drawn to comics illustration after reading ”[[Watchmen]]”.<ref name=”:0″>{{Cite web |date=2014-04-14 |title=Interview with Alison Sampson – Zona Negativa |url=https://www.zonanegativa.com/interview-with-alison-sampson/ |access-date=2025-12-11 |language=es}}</ref> |
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says of her study of architecture:<ref name=”:0″ /><blockquote> |
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It is the biggest influence on my work. I’ve been doing architecture work for so long, the practices are ingrained in my mind and I cannot help but look at comics and think of them like I would think of architecture. Even the way the art is drawn, with a fine black pen, in quite a utilitarian way is like architecture. I think about how the spaces work, how they relate to each other and how they join, or do not join. I think about the lighting and the composition and the scale, and all sorts of things. Quite a lot of my experience is in large projects as well, and that really helps dealing with controlled chaos on the page. Cities, landscapes and large architectural projects all have to be landscaped, to some extent, and the comic page is no different. </blockquote> |
It is the biggest influence on my work. I’ve been doing architecture work for so long, the practices are ingrained in my mind and I cannot help but look at comics and think of them like I would think of architecture. Even the way the art is drawn, with a fine black pen, in quite a utilitarian way is like architecture. I think about how the spaces work, how they relate to each other and how they join, or do not join. I think about the lighting and the composition and the scale, and all sorts of things. Quite a lot of my experience is in large projects as well, and that really helps dealing with controlled chaos on the page. Cities, landscapes and large architectural projects all have to be landscaped, to some extent, and the comic page is no different. </blockquote> |
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Latest revision as of 17:47, 11 December 2025
Alison Sampson is a Yorkshire-born artist, illustrator and architect. She is known for her work with Marvel Comics, and her illustrations for Hellboy, as well as her standalone comics Hit Girl and Winnebago Graveyard.
Alison Sampson was born in Yorkshire in…
She cites 2000AD and Carlos Ezquerra’s depiction of Judge Dredd as early influences on her art. She studied architecture as a first career, and worked as an architect for 25 years, but was once again drawn to comics illustration after reading Watchmen.[1] In about 2010, the artist Rob Davis suggested to Sampson that she should create her own comic. Her first comic (which was about architecture), was published in Solipsistic Pop 4. This led to an offer of work from Nathan Edmondson, which eventually led to the comic that became Genesis.[2]
Sampson says of her study of architecture:[1]
It is the biggest influence on my work. I’ve been doing architecture work for so long, the practices are ingrained in my mind and I cannot help but look at comics and think of them like I would think of architecture. Even the way the art is drawn, with a fine black pen, in quite a utilitarian way is like architecture. I think about how the spaces work, how they relate to each other and how they join, or do not join. I think about the lighting and the composition and the scale, and all sorts of things. Quite a lot of my experience is in large projects as well, and that really helps dealing with controlled chaos on the page. Cities, landscapes and large architectural projects all have to be landscaped, to some extent, and the comic page is no different.
In 2018 she was commissioned to create a poster for BBC R4’s We British for National Poetry Day[3]
In 202$ she was announced as the first British woman to write for Marvel Comics.[4]
Sampson is the niece of the writer J. L. Carr, and cites his influence in her own work and her early love of poetry.[3]
