Posts tagged: Inks

Title Pages: The Batman Strikes #7

Batman Strikes #7 Title Logo

Batman Strikes #7 Title Logo

Here’s another title logo from The Batman Strikes, this time featuring the frightfully frigid Mr. Freeze. It’s always nice when you have characters as thematically strong as Freeze, as they give you a visual element you can apply to all aspects of design. Thankfully the story title was a single word or moderate length, which meant I could create nice big letters to show dripping with ice. Freeze has just broken free of his prison cell, and I placed the logo against the wall to incorporate it into the scene with the ominous, partially-silhouetted figure of Freeze towering over it.

Batman Strikes #7 - Title Page

Batman Strikes #7 - Title Page

Here you can see the context of the whole page. I should mention that I thought that Mr. Freeze was one of the more successful character designs I got to work with from the animated TV series. Most designs for Mr. Freeze’s cold suit I’d seen previously in animation or comics were topped with some kind of helmet, from a bubble dome to something resembling an astronaut’s helmet. This version had Mr. Freeze’s head covered with a spiky ice formation, and his head was a shadowy shape concealed within, with glowing red eyes visible. It was a great, striking visual and upon seeing it I thought it was surprising it hadn’t been tried earlier!

Batman Strikes #7 - Title Page inks

Batman Strikes #7 - Title Page inks

Here’s the inked page art, with inks by regular Batman Strikes inker Terry Beatty. It’s interesting to compare this to the pencil art, especially where I tried to create some translucence effects in the icy mist swirling around Freeze and the just-destroyed door. One advantage of being paired with an inker on a regular basis is learning what kinds of things the do especially well and then playing to those strengths. On The Batman Strikes! I tried to create stark compositions of light and dark shapes, with only the occastional bits of cross-hatching or other effects to create areas of gray mid-tone. I thought this approach preserved the simple, clean lines of the animation design while creating a shadowy, noir-ish mood that suited the Batman material.

Batman Strikes #7 - Title Page

Batman Strikes #7 - Title Page

And finally, here’s the page as it appeared with colors and lettering. Note the sound effect that was added in panel 3. That’s normally the kind of thing I liked to draw myself on this series. I’m guessing that the sound effect wasn’t scripted and I hadn’t chosen to add one when I drew the page, but the editor had one added at the lettering stage. I often wasn’t thrilled with the coloring on The Batman Strikes!, but this page looks good to me. The somewhat monochrome color scheme works well for the prison setting, and the color nicely enhances the ice and mist effects in the final panel.

More to come!

Commentary: Young Justice #9 “Cold Case”

OK, I’d meant to do this about a week ago, but I was too busy for blogging, but at long last here’s my commentary on Young Justice issue 9! I’m including samples of a few pages of artwork here, but I’m commenting on close to every page, so grab your copy of the comic from your local Comic Shop or your digital copy and read along!

YJ #9 pencils pg 1

YJ #9 pencils pg 1

Page 1: This was a fun way to start the story with single-character panels showing the members of the Team bored by the lecture they are hearing, but all demonstrating their individual personalities. Connie cameo in panel two! Probably the most interesting detail on the page lies in what Aqualad is writing on his notepad…

Page 2: This page was a little frustrating to compose, as it features the Team arranged classroom-style listing to a lecture by Captain Atom. I felt I needed to show Captain Atom from the front as this full-page shot was the reveal of his character as the guest-instructor for the Team, and we needed to see what was written on the holographic “white board” behind him. I ended up doing a side shot of this scene in order to clearly include all that detail. A downshot would have been a little more visually interesting, but I was worried that the setting wouldn’t be clear  as the Mount Justice Mission Room if we could only see the floor, and I didn’t want to wait until page 3 of the scene to make it clear where we were. The biggest problem with the angle I showed is that it begs to be a panoramic *wide* shot, but has to fit within the portrait aspect-ratio of the comic book page. I tried to sandwich the shot I wanted before the overhead dome fixture that tops the Mission Room, and some space at the bottom left open for credits and/or the title.

YJ #09 pencils pg 3

YJ #09 pencils pg 3

Page 3: One of the big things in this story were these holographic displays that appear throughout. I created these images (note the ID photo, typset text, voice print, and fingerprint seen on the display in panel 3), and in any panel where the background is partially visible through the semi-transparent holographic projection, the holo-image was provided as a separate layer from the line art so it can be composited at the coloring stage. Once upon a time this would have been sent to DC comics as a vellum overlay on the original artwork for the production people to deal with, but now it’s a separate layer in the scanned art Photoshop file.

Page 4: The shots of Miss Martian in “camouflage mode” are hand-drawn rather than created the same way as some of the holo-displays, but as those figures they needed to be transparent they also were provided as separate layers.

Page 5: Yet another holo-image, this time projected from Robin’s gadget-laden gloves. It was around this time I realized how much this mystery story was turning out to be very special-effects heaving regarding the artwork.

Page 6: This flashback sequence was described in the script as being in “sepia tones,” and the scenes within the sequence were meant to be not bound by discrete panel borders. Multiple-image montages are a fun challenge when they’re a collage of figures and faces, but given that these images were individual scenes with specific background settings, I had a real challenge. My solution was to stylize the sequence so the characters are floating against an inky black background, with the figures and settings picked out in the (sepia toned) light. This let me suggest backgrounds where they were needed with bits of detail but letting the background otherwise bleed off into darkness so the images were separated but without hard panel borders.

There were some revisions on this page around the fact that the body at the center of the story’s murder-mystery was meant to be found with a knife sticking out of his chest. It was key to the plot, as the murder weapon was the key piece of physical evidence in the original trial. Even though that this storyline was in keeping with the tone of the Animated TV show upon which the comic was based (the show whose head writer Greg Weisman is writing the comic!), there was concern that this was too much for a comic considered to be part of  DC’s Johnny DC line. The price of trying to push the envelope of what we can get away with in the comic is that sometimes there’s some negotiation required and sometimes the battleground of those negotiations are art revisions. Ah, well…

Page 7: Problem: How do you do an establishing shot of the Las Vegas strip when it’s the small first panel on a page of 5? You put a couple of palm trees in front of a recognizable neon and light covered entrance to one of the iconic Vegas casinos. Problem: How do you make said entrance even less recognizable even though the name of the casino has been removed from the facade? You change the color scheme!

BTW – I’m amused by Superboy’s flippant response to the unknowing casino employee’s concerned question about his age.
Dealer: “You ARE under twenty-one?”
Superboy: “In weeks or months?”

YJ #9 pencils pg 8-9

YJ #9 pencils pg 8-9

Pages 8 & 9: Part of why I wanted a good solution to the flashback montage issue back on page 6 was I knew it was going to come up again on this double-page spread across pages 8 and 9. The biggest challenge was the 3-panel Viet Nam combat sequence, but I think I was able to successfully frame the action in the negative space within the silhouettes of palm trees. Man, the stuff you have to figure out drawin’ comics! (Scroll down to the bottom of this post for the inked and colored version of this double-page spread!)

Page 10: The flashback continues! These images seemed relatively simple to deal with after the jungle combat scenes on the previous pages. Back in the present, Wally is still eating.

YJ #9 pencils pg 11

YJ #9 pencils pg 11

Page 11: The sequence with Robin and Miss Martian finding a body was fun to draw, as it was filled with lots of moody shadows. I love doing sequences like this, which I suppose is partly why I love drawing the Batman characters so much.

Page 12: Miss Martian proves telekinesis is useful when carefully investigating crime scenes. Oh look, another holographic display!

Page 13: More CSI work simplified by Miss Martian’s superpowers. When the inevitable Miss Martian Mysteries series happens, can I draw it?

Page 14: We meet Captain Nathaniel Adams’ adult children. His son was meant to strongly resemble his father and is wearing an Air Force captain’s uniform, but I didn’t want the characters to appear identical, so I added an extra little cowlick of hair to the short, military haircut, and added a slight cleft in the chin.

Page 15: Aqualad and Artemis walking on the beach. Nice, interesting color choices for this sequence by colorist Zac Atkinson.

Page 16: Another holo-display AND thermal vision. I should have taken the time to do a color guide for the thermal vision panels, as I’d have preferred to see these panels without the black line art and with brighter colors for the “hot spots” in the image. Oh, well. Next time…

Page 17: More panels with Miss Martian in camo-mode, meaning more figures drawn on separate layers so we can see background showing through them.

YJ #9 pencils pg 18

YJ #9 pencils pg 18

Page 18: Here’s our first look at Rako, the artist formerly known as The Cambodian. This guy was a villain in the Captain Atom comic series from the 1980s during the time Greg Weisman was working on it. One of the first notes I saw about this character from Greg was that he intended to rename him. I guess nothing great ever presented itself other than the guy’s given name, as that’s the only thing he’s called in this story. Rako’s look was redesigned by me from his original appearance as The Cambodian. The armor is meant to look like traditional armor of the region if it had been rebuilt by Tony Stark. I’ll be doing a blog entry on that process very soon. And oh look, another thermal vision panel!

Page 19: That’s the last camo-mode panel of the story. I was kind of surprised to see that a sound effect wasn’t added to Rako’s backhanding of Miss Martian here.

Page 20: As much back-and-forth as there was over that knife sticking out of the murder victim’s chest earlier in the issue, it was nothing compared to the negotiations around how to show the wound on Superboy’s chest. Again, a crucial plot point – Superboy is cut and bleeding. But could we show blood? Was it enough to just show energy steaming up from the wound and have the dialog indicate that Superboy’s skin had been cut? Ultimately a little blood was indicated with color with no wound being shown beyond a slashed T-shirt.

Well that brings us to the end of another issue. I’ve previously done similar reviews/breakdowns of Young Justice #7 and Young Justice #8 over at World’s Finest Online. I’ll eventually be duplicating that content here as well as going back and doing similar reviews for my first two issues on the title.

Anyone still with me after all that? Is anyone finding this level of detail in analysis interesting? I’d love to hear from you. Leave some comments!

Young Justice #9 pages 8-9 color

Young Justice #9 pages 8-9 color

Creating a Cover: Justice League Adventures #25 & #26

This time for Creating a Cover we’re going back to a two-part story from Justice League Adventures #25 and #26. The story had Superman, Wonder Woman, the Martian Manhunter and Batman transported to the alien world of Rann where they have an adventure with space-faring hero Adam Strange as a guest star, and I got to draw a recap of his origin which was a lot of fun.

So let’s look at this issue-by-issue. I knew the first part of the story included a scene where Adam Strange comes to the aid of the League members when they are under attack by an alien T-Rex like creature. (It could shoot beams out of its eyes, too. I know, I know…)

JL Adv #25 - sketch a

JL Adv #25 - sketch a

JL Adv #25 - sketch b

JL Adv #25 - sketch b


Sketch A: This was my first design. I liked the Adam Strange figure and the alien T-Rex, but there wasn’t much room for including more members of the League, which I was guessing DC would want.

Sketch B: This take on the same scene featured all the Justice League characters clearly in a bad way, but I didn’t think it did as good of a job showing off our guest star Adam Strange.

JL Adv #25 - sketch c

JL Adv #25 - sketch c

JL Adv #25 - sketch d

JL Adv #25 - sketch d


Sketch C: One more perspective on the same basic scenario – this time an aerial view. I liked this one, as it showed all four involved Justice League members, clearly in jeopardy, and was a great beauty shot for guest star Adam Strange. This was probably my favorite of the four designs I submitted.

Sketch D: The one other idea I included was a throwback to the Silver-Age era that Adam Strange is associated with. It keeps the menace a mystery, but shows Adam Strange confidently pushing the League out of the way on the cover of their own book as he takes center stage to announce himself. I didn’t think they’d go for it, but it would have been fun to draw.

JL Adv #25 cover pencils

JL Adv #25 cover pencils

JL Adv #25 cover inks

JL Adv #25 cover inks


Pencils: As it turns out, they asked for the Adam Strange and T-Rex monster from Sketch A combined with the Justice League figures from Sketch B. I had to flip their orientation and re-arrange them a bit to get the composition to work, but it didn’t turn out too badly given it being a Frankenstein combo of two other ideas. I managed to get a bit of the Rann skyline in there to help establish this as an alien world as opposed to a pre-historic time period or something.

Inks: By Dan Davis.

JL Adv #25 cover color

JL Adv #25 cover color

JL Adv #25 cover final

JL Adv #25 cover final


Colors: The colors looked fine, although with a night-time sky it would have been nice of the skyline in the background would have looked like a night-time skyline.

Final: It amuses me that the dialog given to Adam Strange is so similar to what I’d suggested for Sketch D. It might have been a coincidence given that it’s pretty generic expository bombast! (THAT was a fun phrase to type!) I wish the dialog balloon didn’t cover part of Adam Strange’s body.

So issue 25 left each Justice League member in a cliffhanger situation, and I’d had the brainstorm of taking advantage of Adam Strange’s costume designs to use his chest straps to create a multi-frame cover design that would tease each of the cliffhangers that were to be resolved in the pages of Justice League Aventures #26.

JL Adv #26 - sketch a

JL Adv #26 - sketch a

Sketch A: This was one of my all-time favorite cover ideas, so I pitched hard for it. I did a full cover sketch and didn’t offer any other options (although I obviously would have provided more options if they’d been requested. It was sad watching this one slowly gun off the rails…

At the end of the previous issue, a weakened Superman was being threatened with an axe, Batman had just found a murder victim with a knife in his back, Martian Manhunter was threatened by a pack of the alien T-Rexes as seen on the previous cover, and Wonder Woman was tied to a rocket. All these scenarios were happening simultaneously, so I really liked this as a tease for the multiple resolutions. I loved the multi-frame thing with the red areas of Adam Strange’s costume between the white straps, and I highlighted the threatening element in white in each frame for extra visual interest.

JL Adv #26 - sketch b

JL Adv #26 - sketch b

Sketch B: My editor liked the Adam Strange design part, but wanted the Justice League members in more action-oriented situations. He asked to have the inset scenes changed to ones where Superman was battling an undersea creature, where Batman was being held at gunpoint, where Wonder Woman was fighting a giant robot, and the Martian Manhunter scene could stay the same.

Not only did I not like this as much conceptually, but these scenarios were challenging to depict in a very small, irregular area and keep the Justice League figures large enough to be prominent. Also, this drawing didn’t lend itself to highlighting the threatening elements in the same way, so I tried highlighting the League member’s eyes in white instead. The above layout is what I came up with. It was OK< but already I didn’t like this as much as the original.

JL Adv #26 cover pencils

JL Adv #26 cover pencils

JL Adv #26 cover inks

JL Adv #26 cover inks


Pencils: The pencils turned out OK, and I made sure the editor knew to pass the color sketch I had done along to the colorist for reference, as the color treatment was a big part of the whole concept.

Inks: The inks were again by Dan Davis.

JL Adv #26 cover color

JL Adv #26 cover color

Colors: For me this is where it started to fall apart. I don’t blame the colorist, I think this was a communication breakdown. Unfortunately, I didn’t have any input into the color on this title, so by the time I saw the color version of the art it was final and there was nothing to be done.

  • Rather than more stylized color, the art is the regular colors for the characters just tinted red, and there’s shading applied to the red on the Adam Strange figure which to me makes the inset art look like weird tattoos.
  • The area on Adam Strange’s belt that was intended as a highlight is colored like it’s surface detail, like an off-center belt buckle. It doesn’t look bad, it’s just wrong, and inconsistent with how the character looks elsewhere in the book.
  • The color on Adam Strange’s face doesn’t seem to have the same underlighting scheme the line-art does.
  • The biggest change is the addition of a space background. I think it changes the way the whole piece plays, and the sparse stars don’t read to me as a space background, the just look like hastily-added white dots.
JL Adv #26 cover final

JL Adv #26 cover final

Final: So there’s the final cover. It’s not a terrible cover, but it’s not what I’d intended. I think the “Strange Days!” text to the left of Adam Strange’s head makes the open space to the right seem oddly empty – it unbalances an otherwise symmetrical design. Ah, well. Rarely is a piece of art everything you want it to be, and the reader doesn’t know what you’d originally had in mind. Unless you do something silly like write blog entries where you do deeply into the behind the scenes process of how you design covers.

Whoops.

And so says Doom’s Mother, too!

Doom's Mother - Squad Cover #24

Doom's Mother - Squad Cover #24

That bit of silliness is from one of the parody covers I did for the Marvel Superhero Squad TV show. I wrote about this previously here.

Below are a few more bits of fun detail from that cover. Click on any of the images to go to the uncropped cover in my gallery.

Upside Down Heroes

Upside Down Heroes

More Upside Down Heroes

More Upside Down Heroes


This cover is a parody of John Byrne‘s cover for Avengers #187, which you can see side-by-side with the line art for my Squad version below.

"Mother of Doom" Cover

"Mother of Doom" Cover

Avengers #187

Avengers #187

Have a Happy Halloween! So Says Doom!

Doctor Doom pin-up

Doctor Doom pin-up

This was a part-commission, part-gift for my friend Sean. One of these days I’ll find the time to throw some color on it…