Tell us a little about yourself?

My name is Dave Chisholm, and I live in Salt Lake City, Utah, in the United States. I have been drawing on and off for my entire life, although I have only been drawing comic books with any amount of seriousness in the last 11 months or so. I love the movies of the Coen brothers and comics by Paul Pope. Right now I'm sort of obsessed with Grant Morrison's work on Doom Patrol.
I graduated from the University of Utah in 2004 with a degree in Jazz Composition, and I'm going back for my masters degree this fall. I play the trumpet and have played all over the country and a little bit in Europe. Good times.

What made you decide that comics were what you want to do and what inspires your work?

I love comics and I love the endless possibilities in the form. The history of comics is relatively small and there is SO much that hasn't been done! I'd say that the biggest inspirations for me are my friends--there are amazing stories that happen all around us, big and small. The main inspiration for my series "Let's go to UTAH!" is definitely the crazy thoughts that go through your mind while driving through the desolate open areas of the Western United States. I figured that, for this particular story, since it is a road trip story, the episodic nature of comics would suit it perfectly. The great thing about comics and sequential art in general is the sense of time is so malleable. You can have a two page spread that is a snapshot of a moment, you can take that same information and put it in a tiny panel, you can load it with visual information to force the eye to pause on the panel, you can almost leave it unfinished, so the reader jets right through it. the options are endless and the amount of control is endless. It's like being the director for a movie with an unlimited budget. It's PERFECT for control freaks like me! hahaha

What kind of role do you have as a comic artist?

I write, pencil, ink, and letter my comic "Let's go to UTAH!" Basically, I woke up one day and had this skeleton of a story in my head. I fleshed it out with some friends of mine, and figured out how many issues the story would take to finish. At that point, I found the high points in the story and tried to flesh each issue's material enough (or trim it down, as the case may be). Then, I script out each issue like a movie script, except that i specify what info needs to be in each panel--to find the strongest way to pace it, so that crucial information is in crucial spots on the page. At this point, I thumbnail the pages at 1/4 scale, just to make sure the pacing works. Then, it is on to the pencils. I get out a 11x17 board and pencil out my work. My pencils tend to be pretty loose, although it varies. Then the inks--probably my favorite part of the drawing process. Then lettering, then formatting for printing. BLAM! COMIC TIME!

Are you self-published/online or do you work for a major comic label? Can you share some of your experiences with us?

For me this is a labor of love. I do this comic because I want to. I self-publish it because, as I posted the pages, the response grew and grew and was largely positive. People wanted to see this in print, and, well...so did I. I have submitted my comic to a few publishers, but I'm not holding my breath. I know that it is better than good enough, but it is a bit left-of-center. I'm not desperate for it, even though it would be totally amazing to have this legitimately published.
I'm super green to this industry, though.


What mediums do you prefer to work with and why? What mediums/artists do you admire?

I'm super duper analog. I love the feel of a brush on a page. Digital might be more efficient, but sometimes you learn better lessons when you are working the less efficient ways. You know that putting down a line is a permanent thing, so you put more care into every line you drop onto the page. It's a silly philosophy that gives me way more work to do, but I like it. Call me a sadist.
I love using Black india ink and a brush. I love the feel of it. That's the best explanation I have!



Do you still use reference material such as stock or from life for poses, buildings and other props and item when drawing out comics? How do you come up with the poses? Are you ever unsatisfied with your work or have an artist’s block?

Of course! I have a ton of photos of cars and buildings and people for inspiration--but I draw from my imagination as much as possible--maybe too much, but it is the best way to learn how to create something from nothing...in my opinion. haha
and OF COURSE I get artists block! It ebbs and flows. I try to think ahead when I'm actually working on my book so that when I start a page, I know exactly what I'm going to put down. But, when I go to draw night and look at that blank sketchbook page, it's easy to freeze up. I think that, to draw comics effectively, you have to be able to draw EVERYTHING, and in order to be able to do that, you need to...draw everything. And this, for me, is the best way to get out of a block. Sit down with a sketchbook and draw whatever is there in front of you. If you work in a cubicle, you better be able to draw the most kick-ass cubicle ever. If you live by a park, you better be able to draw an awesome park, etc. etc.



Thank you very much for taking the time to share you experience with us!


Thanks for the interview, kitty! Everybody feel free to check out my comic!
[link]

-Dave