Monday, April 6, 2015

No More Mister Nice Guy

DAREDEVIL (after Miller). 2014. Ink & watercolor on paper, 9 × 12″.

Don't shoot your television! If you haven't heard Daredevil is almost here. Hope you guys are as excited as I am.

Wednesday, April 1, 2015

Wacky Reference Wednesdays, No. 281

THE VALIANT #1 PAGES 16-17. 2014.
Ink(ed by Joe Rivera) on bristol board with digital color, 22 × 17″.

If you've followed my work over the past dozen years, you know how seriously I take composition and reference. Sound effects are as much a part of a successful image as lighting or anatomy — and I take them just as seriously. Aside from their patent use as visual representations of audible sensations, they have other benefits that are frequently ignored.


It's easy to tell when I'm concentrating.

I often joke that a good sound effect is one that covers up something that you don't want to draw. But the truth is, they can operate on many levels, providing guidance to the viewer as they navigate through a scene. Because effects read in a particular direction — even the more fanciful "words" — you can use them to counter the flow of what's going on behind them...


inks by my Pops, with digital holds and tone

... or in front. Sound effects are fantastic for playing with space — their abstract nature allows for far more experimentation with layering than with subject matter bounded by the laws of nature. Even comic book physics must obey certain rules to feel naturalistic.


cyan print of pencils

In this double-page spread, I've used the effects in 2 ways: first as a panel border, then as a motion trail of sorts. Having a physical object to interact with the figure was extremely helpful here, giving me the opportunity to manipulate the scene to get just the right angle.


digital layout

Monday, March 30, 2015

Megacon 2015!

DARKCHYLDE. 2014. Ink & watercolor on paper, 9 × 12″.

As it turns out, I'll be at Megacon this year, but only for 1 day. You can find me at the Hero Initiative booth on Sunday, signing times to be announced. I won't be able to draw while I'm at the show, but I plan to do commissions beforehand. I can't guarantee that'll I'll get to everyone, but if you put your name on the list, I'll do my best to get to it.

There are only 3 options, all of them 9 × 12 inches:

—Watercolor painted portrait (on my own paper, no exceptions): $250.
—Ink portrait: $80 ($20 extra for sketch covers)
—Ink with watercolor wash portrait: $120 ($40 extra for sketch covers)

If you're interested in getting on the list, please email me here: Contact:at:paolorivera.com

In the subject line, please indicate the character you'd like (and which version, if applicable).

Lastly, the chances of me getting to your request are greatly improved if you'd like the ink with wash option. Doubly so if you'd like inks and color from my dad, Joe Rivera.

Thanks for your support!

Wednesday, March 25, 2015

Wacky Reference Wednesdays, No. 280

THE VALIANT #4 PAGE 17. 2015. Digital 2750 × 4175 px.

It's finally out! Be sure to pick up your copy of The Valiant #4, and if you happen to be in San Francisco, my Dad and I will be signing today at Isotope Comics from 5:30-6:30.


Pushin' against a wall

Here you can see how random my need for reference can be. Out of a 9-panel page, only 1 of the figures required a photo assist. (But even that was just barely necessary.) I used a fair amount of reference for the cargo plane interior and exterior, but that's more a hodgepodge of any pics I can find online.

This was another of the all-digital pages. When things get complicated, especially if perspective is involved, it's easier to keep pages in the computer. My Dad still inked about 2/3 of the book traditionally.



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