Creator Q+A: Tim Goodyear
Linework NW is at its heart a gathering of remarkable creators, editors, illustrators, cartoonists, and publishers who represent some of the best work that is being produced in these mediums today.
Each day from now until the show we are going to be highlighting the amazing creators of Linework NW in a series of interviews conducted by the awesome folks over at Gridlords. Today’s spotlight is on Tim Goodyear, the man behind comics publisher Teenage Dinosaur.

Describe the first piece of art that changed your life. When was it? How old were you? Where on the planet were you standing? I think it was Monet’s water lilies, my mom took me to a museum in San Francisco that had very nice plants and a grassy hill type thing and we went into the hall… these fuckin’ things were epic — very tall by hells long. The paint was sculpted on them. It was hypnotic. I had no clue what they were till I was across the room from one. Not really my jam content-wise back then, but they could not be blown off.  How could he know what it would come out as? He was mostly blind by this point and these things were so immense that we had to travel to bring them into focus. You have to be dope as all get-out to manage a feat like that. So hard, so chill. I felt very different about making art after.

  If you were in charge of a small press show like Linework, how would your tastes shape the event? It would be cool if it was like Valentine’s at school was: make a box and put it on your table and then we all wander around putting our comix in one another’s boxes, then return to our box when we are done and pore through it. Money is gross. Who are five people that helped you get to the place you are now with your current work? What did they contribute?Ryan Sook. Moses Rios. Jesse Hamm. Dylan Williams. Jason T. Miles. Steve Ditko. They showed me freedom and how it can be had. Thanks y'all.

What do you think you can contribute to someone else who is trying to make progress with their small press or artistic projects? I (you/we) can just be honest and curious in our tastes. There’s no reason to pose or “climb the ladder” because comics in all form are tiny. The Portland Mercury prints more copies weekly than most commercially powerful comics print in a month/season. For the underground/mini comix set it’s a cult at best. 50 copies is a fair-sized print run, 2000 copies is hardcore ballin’ around these parts. Stay true to yourself. Making comix is a lot of work so if you don’t want to do it you won’t. Smile, it’s free. If you could design a monument, what would it look like and what would it represent? Monuments tend to be in the “big boner” style and there’s enough of that.

What kinds of obstacles do you encounter in your work, and how do you overcome them? Time and money. I laugh and cry. If Linework were a country, who should be the president and why? This can be anyone in history or in the world. Edgar Allan Poe; why not?

Pick a zine or small press item you really like, and promote the shit out of it right here:Social Discipline by Ian Sundahl is perfect; he is one of the very best artists of our time and he makes comix better than they have been or are. I can’t really explain why you should listen to anyone’s taste unless you understand them or respect them, so this may not mean much to you, but I think Social Discipline is the comic I recommend over all to all folks everywhere. Gridlords Interview by Emily Nilsson