Today, I chat with artist Ron Hill, who is also one of the architects behind the revival of DocCon, which will be a part of Pulpfest later this week.
Ron Hill has been an editorial cartoonist, humorous illustrator, graphic designer, educator, author, armchair theologian, and video documentarian (not all at the same time, of course!) for over 40 years. Born in Cleveland, he graduated from the Art Institute of Pittsburgh and immediately returned to Northeast Ohio to begin working in advertising.
In the 1980s–90s, as part of the illustration team of Lombardo & Hill, Ron drew countless interior illustrations for role-playing games published by TSR, West End Games, Iron Crown Enterprises, and Chaosium, many licensed from The Lord of the Rings, Indiana Jones, and Star Wars. An accomplished quick-sketch caricature artist, he has drawn (to date) probably a quarter-million faces at thousands of private and public events from Chicago to New York. His editorial cartoons have appeared in the Chagrin Valley Times, Solon Times, Geauga Times Courier, and West Life since 1999. In 2000, he started illustrating the popular “Armchair Theologian” book series for Westminster John-Knox; these 15 volumes have been translated into German, Japanese, Korean, Portuguese, and Italian.
From 2002–2015, he taught an Interactive Media College Tech Prep program at Alliance High School and has always conducted workshops at area art centers (including the Valley Art Center) since 1990. After co-founding Act 3 in 2016, a media company and indie book publisher in Cleveland, he has recently embarked (once again) on his solo career as a freelance artist, and has completed two personal documentary projects,
“Go-Kart Therapy” and “We Are Doc Savage: A Documentary on Fandom.” He has always lived in the Chagrin Valley of Northeast Ohio, and you can learn more at www.RonHillArtist.com.
Hi, Ron. Thanks for taking some time to chat!
You bet, Anthony!
Last year at Pulpfest (2024), you premiered your short documentary We Are Doc Savage, which is all about the influence this classic character has had since his debut in the pulp magazine that bore his name, in 1933. What is it about Doc Savage that first caught your interest, and what effect did that have on you?
The covers, hands down! In May of 1975, I was a geeky sci-fi kid, in seventh grade when I first saw a Doc Savage book. I was on an overnight school trip, and we stopped at a mall for lunch. I went to a bookstore and saw #74, The Derrick Devil, with Fred Pfeiffer’s funky artwork. That logo and the illustration and the back cover intrigued me – but I didn’t buy it! Instead, I went with a safer buy: James Blish’s Start Trek 9 and The Science Fiction Hall of Fame. But when I got home, there was a package of Bantam Books (I would order from the ads in the back pages with my lawn-mowing dough) and inside was a Bantam catalog. Inside was that awesome logo and the available books. I immediately ordered the first four books, and when they arrived a few weeks later, I was hooked. I think I read all four in one week. And the Man of Bronze was the movie edition, which is another story!
Can you talk about the history of the documentary project, its genesis and road to completion?
Hah! That’s a long and winding road. After art school, the first act of my professional career was working in advertising as an art director, illustrator, and graphic designer, and I also did caricatures and cartoons on the side, for ten years. When I turned 31, I quit the day job and went freelance, mostly doing caricature gigs and drawing for RPG publishers with a friend. We did dozens of books for D&D, West End Games, Chaosium and Iron Crown Enterprises. I was also trying to sell comic strip concepts to the newspaper syndicates; that was act two for me. Then at 40 I fell into a position as a high school career and technical Interactive Media teacher, while freelancing editorial cartoons, illustrating theology books and still doing caricature entertainment summers and weekends; I suppose this was my third work act. Anyway, since I like to do something new every decade or so, after 13 years I quit teaching and helped start a media company with an old friend (the RPG illustrator) and new friend: Act 3, LLC. Act 3 was formed in 2016, and we did websites, illustration, and video production. That is where I learned about video editing. We created lots of short films for non-profits, helping them tell their story. Well, we always wanted to do a documentary, something for ourselves. So, in December of 2021, I pitched the idea of “We Are Doc Savage: A Documentary on Fandom.” My partners greenlit the project in January. I was always a
Doc Savage fan. When the internet exploded in the 90s, I got to know the Doc Savage works of WWW fans Chuck Welch, Frozencat, Chris Kalb, Scott Cranford, Win Scott Eckert, Rick Lai, Will Murray… and contribute artwork, articles, and research of my own. But I never made time to go to the conventions. I would get the invites to the Doc Cons and say to my wife, “If only I didn’t have bills, or school, or work…” So I never dove into the con scene. But I had just turned 60 and suddenly wanted to see what it was all about. And why not document it? So I went to my first convention in spring of 2022, which was Windy City. That was going to be the test to see what kind of footage and assets we could gather. Well, by the end of 2022, Act 3 was doing OK, but not great, you know? The Pandemic really slowed us down. Again, I was 60, and not really that excited about the business side of owning a business, so I removed myself from my own company and went freelance again. My partners are all still my best friends. Part of my separation agreement was that I could take all the footage and documentary assets and finish it on my own. I bought a new computer system at home and spent the next almost two years finishing it.
Was there anything that surprised you as you compiled interviews and pulled the documentary into its final form?
I think the biggest thing that surprised me was that everybody in Doc Savage fandom is so nice, and generous and giving of themselves to each other —Doc fans really do take the Doc Savage Code to heart.
This year sees the return of DocCon, as one of several conventions that are hosted by Pulpfest. How did the return of this venerable fan gathering come about?
Jen DiGiacomo, who I got to know from two previous PulpFests and was a real cheerleader for the documentary project, said last year at PulpFest she was starting Doc Con again for 2025 PulpFest, and did I want to be on her committee? I said sure, I could certainly help with design. Jen is a powerhouse of energy and passion when she takes something on, and it is really infectious; I didn’t want to let her down. It’s too bad she ran into a conflict with her one-woman show when it got accepted overseas, so she won’t be here – this year! We will be talking about 2026 plans real soon. So, after never attending a Doc Con, I find myself right in the thick of things, with super-generous fans, like yourself. And I am told that of the three Mini-Cons at PulpFest, this year Doc Con has generated the most interest, according to a survey of PulpFest members responding. That is gratifying and a little scary – we want this Min-Con to be special!
What can anyone attending Pulpfest expect in terms of DocCon programming?
Mike Chomko was very enthusiastic from the start. When Jen told him she wanted to do this, he said yes, and she pretty much had the programming ideas – of course, the 50th anniversary of the George Pal’s “Doc Savage: The Man of Bronze” was a perfect theme to explore. Jen had recently acquired various ephemera from the movie production, and Chris Kalb had some other stuff, so one panel will cover that. And the Bantam Revival panel was Jen and Will’s idea, and I was happy to help flesh that out since that was my passion for 50 years – Bantam and illustration. I am really looking forward to sharing the stage with Will and Chris as moderator.
Let’s talk about your other creative endeavors for a moment. You recently provided the amazing cover art for Jack of All Comics! edited by Jim Beard and published by Becky Books (in which, full disclosure for readers, I have an essay). What was the process of creating that cover?
That was pretty much a straight illustration commission. Jim Beard is so much fun to work with. He hired me two years ago to do a cover of one of his Grown-Up Kids Remember books, about Start Trek TOS. So when he said he wanted to emulate the first issue of Fantastic Four, I saw the image in my mind’s eye immediately. Presto- bango and it’s done, Jim is happy. That’s always cool when that works out.
Does your process change at all from project to project? What is your favorite artistic medium to work in?
My favorite medium is pencil and ink. Old-school. But I do all my editorial cartoons on my iPad Pro. It is still drawing with the Apple Pencil. I even “pencil” the cartoons in a blue layer, and then “ink” over it in another layer. Then below that I do a “watercolor” layer. It is easier to edit, and when it’s done you don’t have to scan it. Of course there are no originals, but as many as I do, at least I save on art materials – pixels are free.
You’re also a caricaturist. How did your interest in that develop, and what’s your process like when doing caricatures at events?
I did not go to college. I did go to night school when I was 40, to get my Ohio Career- Tech teaching certificate, but I only have an associate’s degree from the Art Institute of Pittsburgh. In 1980, AIP was a tech school, just commercial art skills. No math, science, humanities, whatever… build a portfolio and hit the streets as a commercial artist. Well, I took a 3-hour extracurricular class in caricature quick-sketch from an amazing artist named John Johns. He taught that a caricature is simply an “exaggerated likeness.” At the end of the afternoon, he engaged a dozen of us to draw at the Three Rivers Art Festival. That was a ten-day festival. We drew ten hours a day producing caricatures at
$2 a pop. It was so fun and immediate. In those ten days, I lived it up at night, six-packs and steak from the corner store, up the next morning and at it again. I earned enough to pay for the last quarter of school, my supplies for that last quarter, and an engagement ring! True story: a week after that first festival, when I was home for a couple weeks that summer, I said to my then-girlfriend, Margie, let’s go to the mall. And I bought a $1000 engagement diamond ring with crumpled up dollar bills. How cool is that? I thought to
myself this is how it feels to be a rock star on the road. Some musicians like studio work, some like being on the road. To me, one feeds the other. I go to a wedding and come home with $800 after drawing for a few hours, and everyone is happy. A couple gigs a weekend, adding up to 60 gigs a year means I can afford to work at home during the week, finding illustration his, creating editorial cartoons, illustrating books… and producing documentaries, hah ha. So ever since 1982, I kept doing caricatures at all kinds of events, eventually being able to go freelance because of my gig work. Almost 45 years later I still get that rush drawing for people. My process? After so many years and thousands of gigs and maybe a quarter million faces, it’s really all muscle memory at this stage. I mean, I see faces and immediately know how I would exaggerate those features, and how much. Oh, and Margie and I will celebrate our 43rd wedding anniversary this October. So yeah, caricatures have been very, very good to me.
Do you have any other projects coming up that you’d like people to know about?
Not really. I just kind of grab what comes along and looks interesting. Something always comes along. I don’t think I would do another documentary unless I get a chance to do one about the history of comic strips in Cleveland. I just hope to keep drawing for another 25 years or so… and I hope that includes more cool pulp illustration projects!
Thanks again, Ron! See you in a few days at Pulpfest!
You’re welcome, Anthony! Can’t wait to see you.
Readers, it is not too late to register for and attend Pulpfest 2025 (THE pulp magazine-focused convention in the Northeast) and the other three conventions it hosts: FarmerCon (dedicated to the works of Philip Jose Farmer), ERBFest (dedicated to the works of Edgar Rice Burroughs) and DocCon (dedicated to all things Doc Savage related). Check out the Pulpfest website for registration and hotel information!
