STRAIGHT FROM THE MIXED-UP MIND OF DUSTIN WEAVER

- How do you clarify and negotiate an assignment that is
given to you?

I start by making sure I have all the visual references
I'll need, whether it's character designs,
photographs, or other artists work that inspire me.
Then I do a few sketches to get acquainted with the
material. I'll ask the editor or writer questions for
things I'm not sure about. All of this goes towards
being prepared. When I get the script I'll read it a few times till I
know it well enough to play it like a movie in my
head. Then I go through it and make notes for each
panel. I'll block it out much like a director might.
For each shot I'll write things like "long-establishing",
"medium-2 shot", "close-1 shot," etc. Then I'll do some rough layouts.
The idea is to make sure all the storytelling is clear while keeping
the composition interesting. It's also important to me
to find the rhythm of the story and determine the best
style of panel arrangement. For example: sometimes you
want to use simple 3 tier layouts and sometimes you
want a page to have a strong anchor shot.

- How is your attitude and your approach to your
work? For example, do you still get the same joy
producing the work like you did on the first day
starting out?

 Anyone who creates art for a living should know
they're very lucky to be doing so. Most people aren't
fortunate enough to get to do something this rewarding
for a living. Having worked many a "crappy job" I never
take that for granted. For me, it always feels like I'm just
starting out. I think, when you're pushing yourself as an artist,
there is always that excitement of creation and
discovery that you experience when you're just starting.

- How do you respond to any constraints, if any,
that you come across when producing your work?

I guess it depends on what kind of constraints they
are. I'm happy to accept continuity restraints.
Constraints that I don't agree with creatively are a
little harder to swallow. But, for me, constraints are
only challenges, and present an opportunity for me to
show that I can make anything good.

- How do you modify and develop initial ideas to
produce your final outcome?

This is a broad question. I think different ideas go
through different processes. If we're talking visual
ideas, sketching a lot is always a good idea.

- How do you choose your materials, techniques and
the technology you use ?

Personally, I believe the subject matter should
choose the materials and techniques. Comic books are
about story telling. Different materials and techniques
have different moods and story telling strengths. For
example: acrylic or computer painting with an emphasis
on environment might be perfect for Star Wars while
heavy black ink and harsh chiaroscuro shading with an
emphasis on mood might be good for Batman.

- What are the processes you use to produce your
work, rough and final pieces ?

 I like to draw my layouts the same size they'll be
printed in the comic book. Then enlarge them on to
11x17 paper and light box the parts that I like with a
blue pencil. It gives me a chance to retain some of
that sketchy spontaneity while adjusting where
everything is positioned. From there I think it really depends
on the technique I'm using, but I almost always start with a
blue lead sketch. Then it's a matter of tightening the image up.
Most of the time I'll pencil the image out with a
mechanical pencil line drawing, then I go back to spot
my blacks with the flat side of a drafting pencil.
Next I go back and tighten and render with both a
drafting and a mechanical pencil. If I'm going to ink the piece or
paint it I like to leave the pencils a little loose. This way I stay
engaged with the piece rather than letting the process
become too mechanical.