ARTIST SPOTLIGHT: Danny Givens Brings Anime Energy and Comic-Book Power to the Independent Scene
Independent comics continue to provide a home for artists willing to push beyond familiar formulas, experiment with bold visual styles, and bring new worlds to life. This week, Serpentor’s Lair sits down with artist Danny Givens, a traditional and digital illustrator whose work blends the dynamic influence of Japanese anime with the powerful visual language of American comic books. From highly detailed line work and character commissions to sequential storytelling, variant covers, and his work on KROOM, Givens has developed an immediately energetic approach built around strong composition, expressive characters, and an appreciation for the craft of comic-book storytelling. We spoke with Danny about the origins of his artistic journey, his creative process, life in the independent-comics community, and what readers can expect from him next.
1. For readers discovering your artwork for the first time, how would you introduce yourself as an artist, and what elements of your work do you feel best define the Danny Givens style?
Danny Givens: I’m both a traditional and digital artist. My work includes influences from both anime and American comics. If I had to identify what defines my style the most, I would probably say the inking and line work. I love detail, and that is where it comes through the most.
2. Every artist seems to have that early moment when drawing changes from something they enjoy into something they genuinely want to pursue. What originally sparked your passion for art, and which artists, comic books, cartoons, movies, or other influences played the biggest role in developing your style?
Danny Givens: I’ve enjoyed drawing since I was a little kid. One of my biggest inspirations came from watching Dragon Ball Z when it aired in the afternoons on Toonami. Akira Toriyama’s art style had a huge impact on me.
I’ve been taking commissions of all kinds since around 2014, but I began focusing more heavily on comics around 2022. I started discovering independent comic creators, and I knew I wanted to become part of that community.
3. You illustrated KROOM #1, which combines science fiction, action, unusual characters, and a much larger fictional universe. What attracted you to the project, and what was your approach to visually establishing the world and characters of KROOM?
Danny Givens: It checked all the boxes for things I enjoy. I also have a lot of creative freedom with the artwork in that story.
I wanted every moment involving KROOM to make him feel like the biggest and baddest person in the room—as though nothing could ever stop him. I wanted every one of those moments to feel epic.
4. Comic-book storytelling requires much more than creating a great individual illustration. How do you approach sequential storytelling—panel composition, movement, facial expressions, perspective, and deciding exactly what readers need to see from one panel to the next?
Danny Givens: I approach each panel or page as its own piece of artwork. My goal is to clearly convey the next part of the script in a way that doesn’t require a lot of exposition to explain what is happening.
The image needs to communicate what is happening in that particular moment while also being interesting enough that the reader wants to see what happens next.
5. You have also worked on variant covers, including Name Not Found and, more recently, Rasp vs. Bash #1. How does your creative mindset change when designing a single cover image that has to grab someone’s attention immediately compared with illustrating an entire comic story?
Danny Givens: When I’m designing a cover, I try to come up with something fun that is also relevant to the story—or simply create a design that is attention-grabbing enough to make someone want to give the book a chance.
With Name Not Found, a lot of the elements on the cover are directly related to the story in that issue. With Rasp vs. Bash, I went for a cool image showing the two characters squaring off against one another.
6. What was the collaborative process like on the Rasp vs. Bash variant with colorist Tom Rapka, and how can different artists successfully combine their creative strengths while still producing one cohesive finished image?
Danny Givens: I actually didn’t work directly with Tom. The book was created by Matthew Cole, who is really good to work for. Tom is a colorist Matt hired me for my cover.
I haven’t had any direct interaction with Tom, but I really like his work. His colors made my artwork come to life in a big way.
7. When you are handed an established character or someone else’s original character, how do you balance respecting the creator’s vision with adding enough of your own artistic personality that people can still recognize it as a Danny Givens piece?
Danny Givens: Communication is a key part of that. I definitely draw characters in my own way, but sending works-in-progress to the creator and making sure our visions line up is the best way to maintain a good balance.
8. Independent comics have become an incredible place for creators to experiment with characters and concepts that might never emerge from a major publisher. What do you enjoy most about working in the independent-comics community, and what challenges do independent artists face that readers may never see?
Danny Givens: Indie comics offer more freedom than mainstream comics. You can literally do whatever you want, put it out there, take a chance, and see what works.
With mainstream comics, there is an expectation. You can experiment, but only so far. That is fine, but to me it can sometimes become stale.
As far as challenges go, I would say one of the biggest is simply being seen. You also have to learn how to market yourself and understand how to run a business. Ultimately, that is what it becomes—a business for yourself that requires time and effort.
9. Walk us through your creative process. When you begin a new illustration or comic page, do you start with thumbnails and rough sketches, work digitally, use traditional pencils and inks, or combine several techniques before reaching the finished artwork?
Danny Givens: I start with rough sketches and build the drawing from there. It is pretty much a process of trial and error until I’m satisfied with it. I work that way both traditionally and digitally.
For digital artwork, I use Procreate on my iPad. Traditionally, I work on smooth Bristol paper, usually 9-by-12 or 11-by-17 inches.
My tools include Pentel mechanical pencils, Tombow ink pens, Pigma Micron pens, alcohol markers, acrylic paints, and soft-core colored pencils. I sometimes use gouache paints as well, although not very often.
10. Finally, what is next for Danny Givens? Are there upcoming comics, covers, original characters, commissions, or personal projects you are particularly excited about—and where is the best place for readers who discover you through Serpentor’s Lair to follow and support your work?
Danny Givens: Currently, I’m working on KROOM Issue #2, so be on the lookout for that soon. I’m also always open for commissions.
The easiest way to reach me is through Instagram at @artofdannygivens if you’re interested in commissioning me or purchasing one of my original pieces.
Danny Givens represents exactly what makes today’s independent-comics community so exciting: an artist willing to pull inspiration from different corners of pop culture while continuing to develop a visual identity of his own. His combination of anime influences, American comic-book storytelling, detailed line work, traditional techniques, and digital tools gives his artwork an unmistakable sense of energy. With KROOM Issue #2 currently in development and commissions continuing to keep him busy, Givens is an artist worth watching as his body of work continues to grow. Serpentor’s Lair would like to thank Danny Givens for taking the time to participate in this week’s Artist Spotlight and for sharing his artwork and creative journey with our readers.
Follow Danny Givens:
Instagram: @artofdannygivens
Facebook: https://www.facebook.com/danny.givens.7
Discord – Danny Givens
