Jenna Cha

What was your major and how did you choose it?

I chose the comic art major while taking Introduction to Comics and Introduction to Illustration at the same time. I entered MCAD wanting to be a comic major but thought I should be an illustration major for the sake of my resume. Once I experienced both programs simultaneously, it was ride or die, and I realized my true passion should be prioritized over a feeble career strategy I didn't really want. Lo and behold, it worked out.

Who was your favorite teacher and why?

All of the comic teachers I had are equal benefits to the students. Barbara Schulz and Paul Fricke generally have more classic mainstream backgrounds, Zak Sally and Kevin Huizenga are major in the independent world. Tom Kazcynski is the authority of the ins and outs of the comics business world. Brian Haberlin is your one-stop-shop for digital art. John Pistelli is the best scholar in comic literature. There really is something for everyone in the comic art program, and the fact that you can get the best of both worlds is extremely advantageous for future artists to push the medium.

Describe your internship.

I interned for Paul Fricke as a digital coloring assistant. I covered the flats for his pages, as well as some small textures/graphics and minor file prep. The experience was a huge benefit to my sense of time management and my control with Photoshop, which boosted my efficiency.

Did MCAD prepare you for life after graduation? In what way?

The survival instinct of working by yourself without the comfort of feedback from a program full of professionals is one of the biggest things I've noticed in myself since graduating. The comic program in particular also prepares students for the nuanced informalities of talking to editors or publishers, conducting oneself at comic conventions, and general self-presentation.

Is there anything you wish you knew when you were an MCAD student?

I wish I knew more of the hardened truths about how some industry people tend to treat creative teams and individuals. This includes very late payment, lack of communication, conflict of creative outlook, etc. These things shouldn't necessarily discourage students since the art world (and business world...and world-world) are full of problematic people. But it is in the students' best interest to be aware of what they're getting into so they can learn how to be patient and articulate before the gauntlet.

How have things changed since graduating? Is there anything you miss about being a student at MCAD?

I get an irrational bi-monthly desire to go back to school. Now that I work from home full time, I have days where I really wish someone would tell me what to do, when to do it, and how well I'm doing it. However, the survival instinct of regarding my work now that I'm on my own definitely kicked in early. Critiques and communicating with your teachers and peers is integral to healthy self-critique outside of school, at the very least for the sake of your ability to problem-solve on the spot and strengthen time management.

What advice do you have for current MCAD students and artists at the beginning of their creative careers?

DON'T BE SHY. Ask your teachers questions, ask your peers questions. Speak up in class. If you don't learn to break out of your shell in a classroom, it's going to be a hundred times harder in a professional setting. Professionals gravitate towards people who have a good attitude and demeanor and can conduct themselves well.

Also, learn about as many things as possible. It's easy to distinguish the artists who pigeon hole themselves in their medium and those who keep themselves inspired elsewhere.

One more thing, it is okay to say no to people. I personally did not go into comics intending to work with other writers long term, so I was rather picky early on about what projects I did work on with others. Don't be so picky that you turn away an entire bracket of people, but don't think you need to say yes to whatever comes your way. Stick to your guns.

Describe what you do for work and how you feel about it.

I am currently the artist for the Vault Comic series Black Stars Above. It has been an extremely enriching experience, all the challenges included. While it's still a foot in the door, the series has already connected me with a multitude of people in comics and opened up many opportunities. It has been especially great experiencing working with a colorist and letterer; the team effort of creating a comic is a wonderful feeling when everyone clicks.

How did you get your job?

It's a bit of a saga. Tom Kaczynski introduced me to local comic writer Eliot Rahal while I exhibited at my first comic convention after graduation. Eliot hooked me up with Vault Comics to do a small two page story for one of their books. Although that gig didn't take off for a while (be prepared for large intervals of radio silence in the comics world) in the meantime I worked on my own comics and portfolio. In early 2019 I was contacted by Vault Comics to be the co-creator of a series written by Lonnie Nadler. As the story goes, Lonnie randomly saw a #VisibleWomen post I made on Twitter, looked at my portfolio, contacted Vault's editor, and the editor told Lonnie he was literally about to recommend me too. So, given that serendipity, I figured I'd better not defy fate.

How do you network yourself and your art?

I hate to admit it, but Twitter is a good networking platform. I found it important to keep my portfolio tight and always maintain a momentum of work flowing while exhibiting an eclectic variety of works. Attending comic conventions and meeting professionals (writers and artists included, not just editors) is critical.

What inspires you/your work?

Before I was in school, movies. While I was in school, comics. After graduating, well...movies again, but things that are not comics. Ancient history, being in nature, chatting with strangers, long drives, listening to different music, learning about different languages...research, research, research. I can boil it down to this: comics to me now is like forensically studying ancient texts in a dark lonely room, and everything else is like a trip to the Smithsonian.

What accomplishments are you most proud of?

I've been trying to think of how many lucid moments of thinking "Oh, I can do this!" I've had since graduating. I've realized that for every time I take one step back in thinking I'm a failure at what I do, I eventually take two steps forward of being proud of where I am and what I'm becoming. I think this sense of accomplishment largely has to do with somehow stumbling into an environment that is healthy and communally supportive, where we all want to see each other flourish. I am happy for myself, but I am also very grateful for the community (in and outside Minneapolis!) I am in.

Current obsession?

Dark Souls 3 and All Gas No Breaks

Your biggest takeaway from MCAD?

Being surrounded by pros and receiving their very informed help whenever you want is way more of an advantage than you think. Your professors are there for a reason—they want to help you, and they want you to succeed. You won't get that anywhere else. Keep your head up and your ears open; how much you choose to apply your teachers' help is up to you, but the important thing is to keep your brain as absolutely open as possible.