Wednesday, May 20, 2015

Wacky Reference Wednesdays, No. 285

THE VALIANT #1 PAGE 12. 2014. Photoshop, 2750 × 4175 px.

This page involved looking into the mirror a lot, but I took at least one webcam pic for the last panel. The cigar club is based on a real one in NYC that I found pics of online. (Those beautiful, blonde waves are based on my own hair.) All but 4 pages of issue #1 were done digitally, using Kyle T. Webster's Photoshop brushes. You can see the traditional pages at Splashpage Art.

I thought the trade paperback was coming out today (and last week) but it looks like you'll have to wait until the end of the month. In the meantime, our book was ranked as one of the top Valiant stories of all time by CBR. Awesome!


What's the deal?


digital inks


digital pencils


digital layout


digital ink detail

Monday, May 18, 2015

Archie!

ARCHIE #2. 2015.
Ink(ed by Joe Rivera) on bristol board with digital color, 11 × 17″.

Here's a cover we did earlier this year for the Archie relaunch with Mark Waid and Fiona Staples. My Dad actually used to do caricatures back in the day, so I'm sure he was having flashbacks as he inked this.

Friday, May 15, 2015

2014 Captain America Commission

CAPTAIN AMERICA. 2014. Watercolor on paper, 9 × 12″.

I'll open up the list for next month's Sacramento Con sometime next week. I'm going to work things a little differently because I'll be at the Hero Initiative booth all weekend... I may only take fully painted commissions ahead of time, leaving the ink and wash ones to do at the show. Just a heads up. Have a great weekend!

Wednesday, May 13, 2015

Wacky Reference Wednesdays, No. 284

THE VALIANT #1 p18. 2014. Photoshop, 2750 × 4175 px.

Did I say this week? What I meant was that The Valiant trade paperback will be out May 27. But in keeping with the spirit, here's another page with its accompanying reference. This page was made completely in Photoshop, with a major assist from Kyle T. Webster's brushes, specifically Rough Inker, Ink Wash 1, Bone Dry, and Deliciously Dry. This allowed me to keep working on the book, even when I was traveling.


RAAaaauaaauAAuUUUgh! Google!


digital inks with wash tone

When the project first began, I was going to "save time" by keeping the colors flat, albeit modulated with an "ink wash" layer. By the second issue, I was already back to my old habit of two-tone coloring, but this technique was nice while it lasted. Because I was inking digitally, I couldn't help myself from adding the tone as I went along. I just love that look for black and white comics, something akin to Blazing Combat.


digital pencils

You can see that I made a change between the "pencils" (above) and layouts (below). This was one of the first digital pages that I did, and was very early on in the process. So early, in fact, that I was still figuring out what Bloodshot's powers were, how strong he was, etc. In the original panel 4, I had him leap 20 feet or so in air, but my editor wanted to power him down a bit. Of course, he still punched through what I imagine would be an aircraft-grade cockpit window.

digital layouts

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