Interview with artist António Brandão

What initially appealed you to about Vile ?


I found the story and the subject very interesting. It also helped that I liked Richard’s approach and the way he explained and presented the project was very compelling.



What kind of research did you do to prepare for the work?


Since it’s a story set in time period with very specific characteristics I had to research some visual aspects of the story. Mostly clothes, furniture, houses,… so it lends a bit of realism and historical accuracy to the story.



What is your favorite aspect of working on Vile ?


Getting to work in a different subject, a different environment. I’ve done several stories but this one it the first one set in the old west. I also truly like the interaction between the members of this team and the liberty that Richard gives me to tell this story. It’s great when you get to work in a great project with nice people.



Are there any moments or portions of the book that you are most proud of?


I especially like the double spread page. It’s the kind of page that lets you push the limits of your craft.



For anyone that is unfamiliar with your work,  please describe your style and approach? Follow up-where can we find more of your work?


I grew up reading all the books I could from Marvel and I especially liked the work of John Buscema, John Byrne and some other of those 70’s/80’s Marvel artists. Later the work of Mignola has impressed me much and more recently Coipel and Immonen are some of my favourites. I like to think my style has a bit of those artists in it.

You can find some of my work at toze-barnabe on deviantART and in some comic books published in the last few years.



In your words, give us a brief pitch for Vile?


I think it shows us the struggle of a native woman held captive by a vile man and the ways she copes with the situation. All of that with a bit of supernatural



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?


I like to vary my tools a bit. It depends a bit on my current disposition and what the story demands. I don’t do very tight pencils because I’m inking my own work so I think my most used tool would be my brush pens. I’m also trying the new Pigma Sensei pens by Sakura and I like them a lot so far.



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 everyone is doing their part just fine and we’ve been managing to deal very well with the fact that we have members of our team scattered around the US and Europe.



My friend! I love the grittiness you’ve brought to this book. The detail you put into Clem, we haven’t seen that before with him. I really love your ability to adapt to different environments. Do you change tools to do that? Different pencils or inking differently?

Thanks, Richard!

I always try to give some personality to the characters, sometimes more than just the technical aspect. Heavy brows and an evil smirk, some hand gestures or even the posture might help to define a character’s nature to the reader.

About the tools, yes, I sometimes change tools. I usually use more brush work if I need a more organic feel and markers for more static subjects. I also prefer pens and nibs that allow me some flexibility in the line.


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