Wednesday, December 13, 2017

Wacky Reference Wednesdays, No. 363

ROCKET & GROOT. 2017. Ink & watercolor on paper, 9 × 12″.


toys are often the best source for details


pencils


detail of raw scan

Monday, December 11, 2017

Daredevil Commission

DAREDEVIL. 2017. Ink & watercolor on paper, 9 × 12″.

This was going to be a black and white commission, but was subsequently upgraded to full color. I don't often do watercolor underpaintings in Ivory Black, but it didn't hurt the final color too much. Daredevil looks good with a muted red, anyway.


DAREDEVIL. 2017. Ink & watercolor on paper, 9 × 12″.


detail of raw scan

Wednesday, December 6, 2017

Wacky Reference Wednesdays, No. 362

THE VALIANT #2 p. 12. 2014. Ink(ed by Joe Rivera)
on bristol board with digital color, 11 × 17″.


Ouch...


inks by my Pops!


blue-line print of pencils


pencils over digital sketch


digital layout

Monday, December 4, 2017

20% Original Art Sale (Sequentials only)

BATMAN: BLACK & WHITE #5, PAGE 4. 2013.
Ink(ed by Joe Rivera) on bristol board, 11 × 17″.

Happy December! I've got a 20% off sequential art sale at Splash Page (other artists do as well).

Friday, December 1, 2017

Sketchpad Gallery Signing in SF

CAPTAIN AMERICA (WINTER SOLDIER). 2017.
Ink & watercolor on paper, 9 × 12″.

If you're in the San Francisco area, I hope you'll stop by the Spectrum 24 Signing at Sketchpad Gallery — this Saturday, December 2nd, from 1-5 p.m. I'll be there for the first half and will have limited edition prints to sell. Have a great weekend!


detail of raw scan

Monday, November 27, 2017

Wacky Reference Wednesdays, No. 361

SHADOWMAN. 2017.
Ink & watercolor on paper, 9 × 12″.

The reference used below is from Anatomy 360, a series of apps with 3D models that you can light and rotate. It's great for quick mock-ups of lighting situations. I mostly use the "clay" option for reference, but you can create photo effects as well.


Drawings by Steve Ditko (finishes by Mark Moretti)


detail of raw scan

Hellboy '55 Trade Cover

HELLBOY AND THE B.P.R.D.: 1955. 2017.
Gouache on bristol board, 13 × 19″.

This collection should be out in June and will include our one-shot issue, Burning Season. Details at Dread Central.


detail of raw scan

Wednesday, November 15, 2017

Wacky Reference Wednesdays, No. 360

MADMAN. 2017.
Gouache and Acryla Gouache on paper, 9 × 12″.

The reference used below is from Anatomy 360, a series of apps with 3D models that you can light and rotate. It's great for quick mock-ups of lighting situations. I mostly use the "clay" option for reference, but you can create photo effects as well.


Madman reference by Mike Allred


underpainting in Payne's Gray gouache


pencil sketch


detail of raw scan

Wednesday, November 8, 2017

Wacky Reference Wednesdays, No. 359

HELLBOY AND THE B.P.R.D.: 1955 #3. 2017.
Ink(ed by Joe Rivera) on bristol board with digital color, 11 × 17″.

Out today: Hellboy and the B.P.R.D.: 1955 #3, full credits here. Below are the many little details that went into making this cover. The figure on the lower left is the design I came up with for a character, Moravec, that made his first appearance in Hellboy and the B.P.R.D.: 1953.

I usually do tiny sketches in the (often digital) margins to get a feel for characters, poses, or props. If nothing else, it helps me rule things out. I find it's always better to just get something on the page before you start overthinking it or, heaven forbid, erasing.


Not much posing, but lots of details


inks by my Pops


blue-line print of pencils


pencils over digital sketch


sketch in Photoshop


flats by Aladdin Collar


digital layouts

Sunday, November 5, 2017

Captain America Poster Charity Auction

CAPTAIN AMERICA: THE FIRST AVENGER. 2011.
Gouache and acrylic on illustration board, 16 × 24″.

I receive one question more than any other: "Do you have any Cap movie posters to sell?" For once, the answer is yes.

You can bid on it here. All proceeds will go to Fundos Unidos de Puerto Rico (Charity Navigator rating).

Wednesday, November 1, 2017

Wacky Reference Wednesdays, No. 358

HELLBOY AND THE B.P.R.D.: 1955 #2. 2017.
Ink(ed by Joe Rivera) on bristol board with digital color, 11 × 17″.

This issue is already out, I just never got the chance to post. Full details at Dark Horse. (Can't wait to show you the next turtle cover I did.)


1:1 Airsoft Colt 1911 and 1:6 M3 "grease gun"


inks by my Pops


blue-line print of pencils


pencils over digital sketch


sketch in Photoshop


layouts in Photoshop


work in progress (Photoshop coloring)


tech usually require blue pencil first


another work in progress shot

Monday, October 30, 2017

Doctor Strange Commission

DOCTOR STRANGE. 2017.
Gouache & Acryla Gouache on paper, 9 × 12″.

This commission from earlier in the year took 11 hours, prep to scan. I had great reference (thanks to my previous work for the movie) and basically just copied a single photo. If only it were always that easy. Typically, I end up trying to interpolate 2 or more different photos into something new (typically a bad idea).


detail of raw scan

At the bottom, you can see how I try to lock down the drawing in a single wash — Sepia Holbein Gouache, in this case. The face is always toughest, so I saved it for last. I must've done okay, though, since my Photos App now thinks I know Mr. Cumberbatch.


detail of raw scan


work in progress snapshot

Wednesday, October 25, 2017

Wacky Reference Wednesdays, No. 357

Amazing Spider-Man #638, Pages 11-12. 2010. Ink on Marvel board, 22 × 17.25″.

(This was originally posted as WRW No. 164. I couldn't find any other art with a 357 Magnum)

Sometimes the reference isn't a photo, but a panel or sequence from another story. Such was the case in this spread from One Moment in Time. My task was to recompose a small panel from Amazing Spider-Man Annual #21 into a double-page splash (with ample room for title and credits).





Additional reference was needed to "beef up" various architectural details, so Google Sketchup models were incorporated directly into my digital composite, where things like perspective and composition are refined. The generic man flying in the background served as a placeholder—something that could give me a sense of relative scale. As often happens, I followed my gut and just made the high-strung criminal as big as I wanted.



And this is where it all starts, an 8 × 6″ layout that hits all the major notes. You can view the final colored art here. There's even more behind-the-scenes planning that went into the following page, but I'll have to save that for another post.




AMAZING SPIDER-MAN #638, Pages 11-12. 2010.
Ink with digital color on Marvel board, 21.5 x 17.25"