Gabriela Downie is a comic book letterer, cover artist, character designer, and she's setting her sights on video games. You might know her work on Harleen, RWBY, and Punchline.
After a bit of investigating, it turns out you and I share a similar entryway into the world of comic book lettering via DC’s Prepress department. Is that where you got your start in comics? Have you always been interested in comics?
Prepress at DC Comics was my “break-into-the-industry” moment. To get hired I had to pass a competency test, portfolio review and a few interviews. So when I got the position I felt validated as a professional artist.
I figured if I worked my way up, I would eventually end up designing the DC Heroes in the Injustice fighting game franchise, thus why my website is full of colorfully rendered character illustrations. My original goal was to become a video game concept artist. Now I’m using my experience in both fields to chart my own course.
Now, there are some letterers who will read “work my way up” as a dig against career Lettering, but I when I went from Pre-press to Lettering, I saw it much the same way. How do you see yourself using lettering to help chart your path into video games? Do you worry a potential employer will see Letterer on your resume and that will sound the death knell?
Every skill we artists cultivate serves us, not the other way around. Lettering has helped me master typography and graphic design, and it has already opened doors to television and video/stream content, as a graphic designer, for me.
If lettering is the field an artist wants to stay in, more power to them.
That doesn’t grant them the authority to guilt-trip, or “humble” other artists who want to expand or discover other opportunities, because that’s toxic.
The video game industry has a lot of work to do on their work-culture as well, and I don’t think anyone should chain themselves to a toxic work environment.
You’re a letterer, but I went to your website and I don’t see any lettering. Instead your website showcases wonderful character designs. Most of them beautifully rendered in full color. So, why exactly are you lettering comics, and not doing covers?
My first Cover just got published actually! Helm GreyCastle Issue 3! But you’re not wrong, took me long enough, right? Well that’s because gatekeeping is a persistent problem in comics. They’ll throw any excuse in our faces to keep us from participating. Luckily Henry is a real-life hero, with a big heart and two functioning eyeballs.
You’re work first caught my eye on Harleen, but I’m seeing your name pop up more and more. Can you talk about any of the new projects you’re working on? Are you juggling character design and lettering?
I am currently producing my own original graphic novel. A one-woman-army undertaking, if you will. Don’t ask me when it’ll be ready, art takes all the time it needs.
As for works of art ready to be consumed and adored, I offer these wonderful projects I’ve had the honor of lettering:
Helm GreyCastle by Henry Barajas
Thirty Three by Juan Ponce
Twin Blade by Jarred Lujan
These creatives are the future. So much heart and authenticity in their storytelling, and action! I know talent when I catch myself reading the story as I letter, and these three stories all distracted me, ha!
Did I mention they were all Latinx/Latine talent? These books bring fresh new perspectives that’ll resonate with all generations.
Can you tell us more on your own graphic novel? Is there a place we should stay tuned for more details? Now that you mention it, why is it important to you that those projects are Latinx/Latine talent?
For my graphic novel: follow my social medias for more info on that. Like I said, it’s a one-woman-army undertaking, and I’m still drawing the thing!
As for the Latinx/Latine question…We are not here to “profit-off” of brown/minority stories. We ARE the stories, and when we’re empowered to share our voices, everyone wins. Our Ancestors win, our children and grandchildren win, and consumers from different ethnic/cultural backgrounds win as well, because of education and familiarization. It’s 2021, ignorance is a liability and there is no “un-ringing” that bell.
From Pre-Press artist to letterer to cover artist with video games in sight all the while doing character designs AND working on your own graphic novel. How are you juggling it all. What is your workflow like?
I use the Adobe Creative Suite, more specifically: Photoshop, Illustrator and Indesign. The key to “juggling it all” is time management. That means being honest and realistic with myself on how/when I clock in the time for each. That being said, I’m learning to value myself and my self-care. Rest and work time are almost equal, so I need to keep my workload cart updated constantly.
Earlier this month you made some posts to your socials with the hashtag #COMICSARESTILLRACIST I read it on your IG story but readers of this can find it pinned to your Twitter. It was a well-written piece and you take ownership of it as being ‘your truth’, while I can’t relate to your story in terms of race or gender (I’m a white male in a predominately white male industry), I certainly share your sentiment on career growth, pressure, and gatekeeping. Have you faced any blowback from your statements? Has this experience made you think differently about lettering, or comics in general?
I was made to feel guilty for “throwing people under the bus” but it’s nothing personal! At the end of the day, the numbers DON’T add up to anything healthy, or fair. DC knows it gets the most “bang for it’s buck” by gaslighting the ever-loving-shit out of talented, sensitive, LOYAL creators. It’s an abusive relationship for all artists involved, they’re just too broken and BROKE to speak their truth. It’s ok, I am here to beat the drum. Loudly. Absolution won’t be granted until we get paid better, end of discussion.
So this sounds more financial, than racial. Wouldn’t a better hashtag be #COMICSARESTILLEXPLOITINGCREATIVETALENT what am I missing that makes this racist? And do you feel it’s about corporate policy, individual editors, group editorial policies, or just the way things are? How can we as a comics community fix it?
It’s nice when race and economics can be compartmentalized separately, but for minorities, it’s the same thing. Employers that claim to be an ally for minorities, and profit from us, but mistreat, underpay, and exploit our time and energy, or threaten to, or follow through with ending our careers for petty reasons, are racist hypocrites.
The problem in the comics is racism/elitism.
I ask everyone I interview…If you could only give one piece of advice, be it for lettering or life, what would it be?
Real Heroes
Exist…in
Real Life.
The characters in media are saturated and seductive, but they are not real. You, the listener, are real. I am real, we coexist in this reality.
How you treat others, and how you allow others to treat you, is the only thing that has meaning.
Don’t work with people who exploit you. Don’t worship entities who are cruel. In real life, the only hero enforcing kindness is YOU. The only hero enforcing fairness, is us. We must demand it, and nothing less.
Website: https://www.harmzart.com/
Twitter: @HARMZ_sh
Instagram: @HARMZ_SH, @GabrielaDownieInComics, @harmz.art @PELIGROSA_cosplay