Patrick Meaney: Give me a bit of background on what led you into art and your work prior to this book.

Nicolas Colacitti: I draw since I'm 3 years old. My mother is an artist too, so I guess that she inspired me to start drawing. I've choosed the comics because of his great power to tell a story, and because it's a mix of drawing and writing, things that I love to do. In the past I've done two professional comic books: "Undying Son" and "Berserk". 

 

PM: So, like the other artists, we met up through the Digital Webbing talent engine. Was there anything in particular that drew you to the project?

NC: I was searching for a paid job that can interest me, and that I feel that it's the right for me.

 

PM: What were you first impressions upon reading the script?

NC: I've noticed a great organization, a lot of detail, very cinematic. Clearly Patrick knows what he wants. And a lot of panels per page. It was an interesting challenge to put all those panels in one page. 

PM: How do you feel about having three different artists on the project?

NC: It's cool because each artist has his part, and excepting some panels, each artist has his own freedom.

 

PM: Take us through your process for turning the script into the drawn pages.

NC: First, I make little sketches of every single panel. Then I organize them into the final page depending the kind of scene. Once I've sketched the page, I start adding detail depending the distance of the shot and the quantity of visual elements, so I don't saturate the reader's eye.  

 

PM: Your art style is very unique. How did you develop it, and were there any particularly influential artists for you?

NC: Developing a personal style takes time, every person has his own style, but there's a long way to find it. There's a lot of experimentation in the way. Once you find a style that really likes you and you love to do, you've make it. I think that once you get to this point, the line isn't over, you have just started. The experimentation continues, always. A lot of artists inspired me, but the most important is the own perception of the nature.

PM: I found it surprising that your pages begin with rough line drawings, considering the fact that when finished they seem entirely constructed
from shading. Is this how you always worked?

NC: It was something that was evolving with me. I think that's a evolved version of my old drawings. I didn't use a lot the shading in the past, it was more like classic superhero style. I'm using this style for this project, but I can handle a variety of styles. And in this case, I've adapted my personal style to make it work in a comic book. You know, there's a schedule and a lot of work to do.

PM: Your work in issue one is mostly action but later on it's a lot of more everyday stuff. Do you prefer drawing one or the other?

NC: The two things are good, and necessary. I think the action is cool, but generate an ambience with the everyday stuff is just great, and more interesting.