Meet Stanley ‘Artgerm’ Lau, the face behind the many cover illustrations of Marvel and DC Comics

Did you always know you would end up in this industry?
Not really, but I always knew I wanted to draw. Drawing was the most fun thing I could do compared to any other hobby. I knew I wanted to build a career in art, but I wasn’t sure what role I would play in the industry. Only when I got older and started reading more comics did I begin to imagine myself as one of those people creating them. But even then, I had no idea how to become a professional comic artist. It wasn’t until I moved to Singapore at 17 that I was exposed to more Western-influenced art, like American comics, which I fell in love with.

What motivated you to pursue art and blend Western and Asian styles in your work?
Growing up in Asia, I was heavily influenced by anime and manga, so my style initially reflected that. When I moved to Singapore, I was exposed to Western content, and that gradually found its way into my work. It’s funny—when Western audiences look at my work, they see it as very Asian or anime-influenced, but when Asian audiences look at it, they think it looks very Western. It’s become this hybrid style, though that wasn’t something I consciously planned—it just evolved that way.

What was your journey into the industry like?
I was officially trained in graphic design. At the time, there were no programmes in Singapore that taught how to draw comics or manga, so graphic design was the closest alternative. I had to convince my parents, especially my dad, to let me pursue art. They were concerned because art is subjective, and they worried I wouldn’t be able to make a living. But I asked for a chance to prove them wrong, and that’s how I started. I’m mostly self-taught when it comes to drawing.

Did you face obstacles due to your Asian background, especially since art isn’t always encouraged?
Definitely. Even today, I ask my students if their parents object to them pursuing art, and many of them raise their hands. Asian parents often don’t understand what we’re doing. But for me, art was always fun, and when something is fun, you find ways to make it work. Nowadays, with the internet and online tutorials, it’s easier to learn. But making art a career is different—you need to understand your audience and build a fan base. If no one knows about you, no one will commission your work. I got into social media early, starting on platforms like DeviantArt, and that helped me grow an audience.

How do you stay relevant in such a competitive industry?
I always ask myself a few questions when I create something: Is it trending? Is it funny? Is it nostalgic? Or is it educational? These elements tend to resonate with people. As a teacher, interacting with young people helps me stay in touch with what’s trending. I also participate in events like “Inktober” to push myself to try new things and stay relevant.

Can you share some of the notable projects that you have worked on with companies such as Marvel and DC Comics?
To be honest, I don’t read Western comics—I grew up on manga and anime. So, when I started working with DC and Marvel, I brought a fresh, Asian-influenced perspective to their characters, which was fun for me. But it can be challenging, especially with something iconic like Street Fighter for Capcom. I’m often going against established expectations of what these characters should look like.

How do you stay inspired and continue to innovate?
It’s very challenging because as an artist, you can get a little jaded after working for many decades and start to lose the joy of creating. So having fun plays a very important role [in staying inspired and motivated]. But having fun is not just something that you see in a vacuum. Wanting to have fun leads me to want to improve and continue making sure that I’m relevant. This can mean approaching art differently or presenting a character differently. Not only would I keep myself interested, I’ll also keep my collectors interested.

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How do you balance all your responsibilities?
It’s tough. I have a studio to run, commercial projects, and a family. In the early days, it was difficult for my wife to understand why I worked so much. To her, it seemed like I was a workaholic, but for me, it was just fun. Now, we’ve found a balance. I have certain days where I stay late in the studio and other days where I focus on family. It’s all about sticking to a schedule.

What milestones do you feel have marked your career so far?
I try not to focus too much on popularity, as it can get to your head. What’s helped my visibility is presenting something different in the Western comic industry, particularly a more Asian-inspired style. I’ve also gained recognition for drawing strong, empowering female characters.

How has the industry changed and how do you hope it will change?
The comic industry has changed in a positive sense with a lot more Asian artists coming in. There have also been some distractions like AI coming into the mix but otherwise, I’d say it’s been a healthy growth.

What are your thoughts on AI?
AI is a hot topic. Every time I give a presentation, people ask about it. There’s a funny story—my name has become popular in AI models because people use it as a prompt when they don’t know what to input. They don’t even know who I am but they get better results when they use my name! It’s amusing.

But overall, I have mixed feelings about AI. While I understand its potential, art is a deeply human endeavour. The beauty of art comes from an individual interpreting the world through their unique lens and skills. That’s what makes art valuable—there is a person behind it. That’s why we attend comic conventions, to meet the artists and celebrate their work. Without a human creator, AI-generated art lacks that vital element. So to me, AI-generated work will never have the same meaning.

Do you think AI poses a threat to young artists?
Many young artists fear that they’ll have to compete with machines, but I don’t think that’s true. History teaches us that machines have always taken over mass production like shoes, bags or utensils, which were once handmade. Today, handmade items are more valuable because of the human effort involved. I believe the same will happen with art. As AI-generated images flood the internet, people will value the human touch even more. There are already collectors willing to pay a premium for my original artwork because they know there’s someone behind it.

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