A taste of the interview:
One aspect of your work that I’ve always enjoyed is how you don’t really work with a grid. Now on the one hand I hate that somehow this qualifies as distinctive because I don’t think that it should be, but will you tell us what you think it’s possible to accomplish laying out every page in a unique fashion?
A grid emphasizes that it is what is in the panels that is important rather than the shape of the panels and it can work great if the artist wants to impose a more rigid timing. I have done some gridded stories. But, I have more often used a more angular, expressive type of panel configuration that harks to ’70s comics, as do some of my contemporaries such as Tony Salmons. In the case of “Post York,” Tom K inspired me to be less precious regarding page design — I ended up eliminating quite a few panels that I had drawn completely but that were unnecessary. I deleted some on every page, in fact, and the design and the story became more effective for the omissions.