What initially appealed you to about Vile #2?
I was impressed with the writing style and originality of the story. Richard has a way of expressing emotional topics without cluttering up the page with unnecessary details.
What kind of research did you do to prepare for the work?
I read issue #01 and fell in love with the story. After that, I winged-it.
What is your favorite aspect of working on Vile #2?
I love our team. Everyone is friendly and communicative, and I feel we each find a piece of ourselves in this story. It’s important that all members care about the project from the first read of the script to the final product.
Are there any moments or portions of the book that you are most proud of?
Page 09. I think we all put our hearts into our first page as a team and it turned out beautifully.
For anyone that is unfamiliar with your work, please describe your style and approach? Follow up-where can we find more of your work?
Ha. I think my style should be called, “hot mess,” but in a positive way I suppose. I tend to think a bit out of the box. My style is basically my brain trying to organize itself on paper. I don’t ask the questions. More hot mess can be found on my website: dyanj.com. (That sounds dirtier than it is.)
In your words, give us a brief pitch for Vile?
A Native American woman is kidnapped by an outsider and must fend for herself. Little does her captor know, she puts up one hell of a fight. The bounty hunters are probably helpful, too.
What was the one tool you used most on Vile? It can be a certain sized pencil, an eraser, something new that you tried out?
The pen tool in Adobe Illustrator — the most important tool in the program. It takes a lot of patience to learn, but it makes all the difference between professional and amateur work.
Every member of our team lives far apart from every other. We have Wa, OH, Portugal and London I believe. Is there anything you would do to help streamline things?
I think we’ve got it already.
Dyan-I love what you were able to do with little direction from me. You came on to the project before Eleonora and Antonio. How did you find your direction with the first 8 pages, and then switch gears to the next phase? Antonio has a really different style than the previous artist in this issue.
I prefaced every page with, “if this is too out of the box, I can fix it…” but Richard never held back. Basically, I dumped all the noise in my head out on paper and took it from there. That’s how this stuff works, right?