Noel Tuazon is a veteran of the small press of the comics industry. A talented cartoonist who received some of his early training at Max the Mutt Animation School, Tuazon is about to make the leap to big-time New York book publisher with the much lauded Elk’s Run. We recently had the chance to ask Noel a few questions via e-mail as time permitted with his busy schedule at Core Digital.

Max: What are some of the comics jobs you’ve done prior to the Elk’s Run project?

Most have been anthologies. First there was a one page backup for Dave Sim’s reprinted single issues (Cerebus Bi-Weekly) in ‘89 & ‘90. There was also an eight page story for Stephen Bissette’s Taboo Especial (‘91), followed by appearances in the Canadian based Reactor Girl and Dennis Eichorn’s Real Stuff (Fantagraphics Books). In between those projects there was a two issue series entitled, Arianne, written by Rafael Nieves and originally published by Slave Labor Graphics (and later on by Moonstone Books). Other comic book anthologies which followed were Frecklebean Comics & Stories, Fleshrot (zombie stories) and it’s Halloween Special, and Suley Fattah’s local project to raise money for cancer research, Drawing the Line.

Max: How did your involvement with Elk’s Run come about?

I had e-mailed the writer , Josh Fialkov (back in 2004), asking him if his other project, Western Tales of Terror (another horror anthology), was in need of artists. Western Tales of Terror was ending but he was looking for someone to illustrate his other project, Elk’s Run so I took a chance on it.

Max: What was the publication history of Elk’s Run and how did it eventually end up with New York book publisher Villard/Random House?

The first three issues were originally published by Josh & his business partner’s company, Hoarse & Buggy Productions. When they met up with Darwyn Cooke at a U.S. Comics convention he suggested a new company called Speakeasy. They put the three issues into one book as an intro to new readers. Then it took forever to get #4 out. Shortly after that, Speakeasy went out of business and that’s when Villard/Random House’s acquiring editor, Dallas Middaugh, pounced on it. Instead of the original plan to publish the book as eight issues, it’ll now be published as a graphic novel next spring (‘07).

Max: You were nominated for a Harvey Award this year in the Best Artist category. How did that feel to get some recognition in one of the most important awards ceremonies in North American comics?

I was very surprised in even getting nominated! It’s good to finally receive a nomination in a field I’ve wanted to get my foot into for over 20 years.

Max: You attended Max the Mutt Animation School early on in it’s inception. What were some of the courses you took and how did they help you develop your cartooning abilities?

I took storyboarding courses which helped in the pacing of a comic page. When working on Elk’s Run, I found myself sometimes adding an extra panel or two just so the scene wouldn’t be too sped up or to make sure the reader understands as to why a character is going from this action to the next. It even aided in the compositing of scenes whether it be in a single panel or a splash page. Also the drawing and perspective courses greatly improved my draughtsmanship in comparison to where I was before.

Max: You are also an accomplished illustrator and animation artist. What are some of the assignments you have been involved with in the past?

I’ve provided illos for Cricket, the National Post, the SCBWI (Society of Children’s Book Writers and Illustrators), Bulletin magazine and, more recently, a children’s book (Sunny Bear’s Rainy Day by Caryn A. Tate). I’ve done storyboard clean-up for Bob & Margaret and Rescue Heroes. I’ve also worked for animation company 9 Story, and now I’m currently doing concept drawings for C.O.R.E. Digital Pictures.

Max: What do you see in your future as an artist? What is the next big project now that you are finished Elk’s Run?

I just finished up my contribution to an anthology called Postcards. The 9-page story I drew was written by Antony Johnston and he’s adapted (into comic books) some of Alan Moore’s prose stories.

Max: Do you have any advice for aspiring cartoonists who might be attending part-time classes at Max the Mutt or those who plan on attending the full time Illustration for Sequential Arts Program in 2007?

Don’t focus too much on just comic art. Look at works by fine artists as well as illustrators (especially the masters of ink drawing: James Montgomery Flagg, Charles Dana Gibson, John Lagatta, Joseph Clement Coll, etc..) Concentrate a lot on the basics of drawing!

(Photo: Left to Right- Tony Dezuniga, Ernie Chan, Noel Tuazon and Alex Nino. Noel hangs with fellow Filipino artists from the old school while attending this years San Diego Comicon to promote Elk’s Run.)