Alright folks, I regret to inform you that THE LEGEND OF LUTHER STRODE #5 is going to be delayed. The new release date is MAY 15, 2013.
That said, I'm excited to inform you that this issue is going to kick your entire face off and throw you into the sun. REJOICE. Here's a preview spread to whet your appetite. We'll see you on MAY 15 for the full course!
We apologize for the delay and sincerely thank you for your patience, everybody!
Here's a variant for Max Bemis' fantastic upcoming comic POLARITY! The interiors are drawn by Jorge Coelho (an extraordinary BNN cohort) and colored by none other than Felipe Sobreiro (my trusty partner in crime on Luther Strode), so, needless to say, the artwork is truly a wonder to behold.
I've already had the opportunity to read and fall in love with the first issue, so be sure to check it out yourself when it drops in April!
DO YOU LIKE INCREDIBLE THINGS? Well then, do I have the thing for you!
Mega-talented writer/artist extraordinaire Ryan Browne is currently running a Kickstarter campaign to have his hilarious and bizarre comic, GOD HATES ASTRONAUTS, printed as a glorious 180 hardcover graphic novel. He's also including a ton of guest artwork and from some wildly talented creators.
Here are the inks for the two page origin story of CRAZY TRAIN. Written by Ryan, drawn by me, then back to Ryan on colors and letters.
I can't recommend this comic enough, folks. I'm done talking now, though. Kind of:
LEGENDS OF THE DARK KNIGHT #8 Written by PAUL TOBIN and RICARDO SANCHEZ Art by TRADD MOORE and SERGIO SANDOVAL Cover by TRADD MOORE On sale MAY 1 • 40 pg, FC, $3.99 US • RATED T • DIGITAL FIRST In “Carved,” the new crime wave in Gotham City is stranger than ever. Will Batman solve the puzzle in time to save the citizens’ lives? Plus: The Dark Knight’s investigation into a missing mythological creature created by taxidermy takes a turn for the even more bizarre when he stumbles onto a living version of the creature in “Unnatural Selection!”
Some folks have asked me to show some process work, so here we go!
PART I: THUMBNAILS
I always begin an issue by reading through the script and thumbnailing out the whole thing. They're just little 2"x3" scribbles on computer paper, but this is the part of the process that requires the most thought and decision making. The amount of detail, or lack-thereof, in the thumbs varies pretty wildly from artist to artist (as do most things), but I personally like to get everything to the point to where I know exactly what I'll be drawing when it comes time to move to the big page. Minute details aren't terribly important here, but I do focus very strongly on character gestures and the flow of the storytelling.
PART II: ROUGHS
From the thumbnails, I go straight to the 11x17 bristol (this spread is two 11x17's taped together, so 22x17) with my trusty ol' mechanical pencil. Since I ink my own work, I don't like going too far with the pencils. Keeping it light and loose in the roughs helps the piece maintain a lot of energy as well as saves time. It also makes the inking process more engaging and enjoyable, in my opinion.
I like getting all the shapes, forms, gestures, and facial expressions hashed out at this point, along with some minor details, but I save the heavy lifting with precise textures and details for the inks. The lines here are darkened so that you can see what's going on, but in reality the line work is MUCH lighter. Basically, I want to leave it light enough so that once I ink the page, I can give each panel a quick eraser rub down and you won't be able to tell that there were ever pencils on the page.
PART III: INKS
Now to the inks! This is where things come together and look like real drawings and less like scribbles. I ink with a brush (THIS ONE), but will bust out microns and a ruler for certain things like the stairs, the railing, and the one column that's not exploding. During this part of the process, I do one panel at a time and finish it completely before going to the next. I don't always do them in order, but I do like to take whichever panel I'm working on to completion before moving on to another. Doing it this way helps me easily quantify my daily progress and gives me a sense of achievement each time one is finished. For me, finishing a panel is like reaching a checkpoint/save point in a video game. Nothing beats that feeling! It's the small victories that help you zip through drawing a comic.
PART IV: COLORS
I don't do this part, MUAHAHAHA. I just send it off to this poor FELIPE SOBREIRO guy and make him color in all my blood splatters and energy confetti. And, man, he does a good job, doesn't he?