THE SORCERER SUPREME

Pencil on Standard Stock, Digitally Colored
Original Creation Date: Completed May 11, 2014

Doctor Strange. I think I read one of his comics once when I was a kid, but otherwise I know very little about him. In fact, I think I even made fun of him a few times in my Michigan Comic Strip in the past. But he was never one of my favorites.

Which, of course, is exactly why I sought him out. I wanted to draw a character I was unfamiliar with, and even prepare another piece in the more elaborate vector painting style I've experimented in the past, first with the Joker Madness and later the Nemesis pieces. Without giving away any of my secrets, or boring anyone in the process, pencil artwork is treated in very specific ways in Adobe Illustrator and then later embellished with additional raster treatments in Photoshop. I like to call it my "GrayPaint" technique.

As you can see here, the piece starts as a very loose, and free-form pencil drawing. It's almost as if the pencil doesn't leave the page at all during its creation.

And additional treatments are made for shadows, contrast, color, and in the final image, mystical magic bolts.

This drawing tested the technique in ways I'd never pushed it before... as well as the active memory of my MacPro. But as it always is, a solution is found, and I'm pretty pleased with the results.

COMPULSIVE DETAIL vs. RESTRAINT, or INKING ANGELS AND DEVILS

Yes, that's a picture of me inking, with a devil of sorts on one shoulder, and an angel on the other. If you look closer, however, you might realize that one side of the drawing is inked in an entirely different manner than the other. The devil, or my inking devil, as it were, is Arthur Adams, probably the single biggest influence on my entire pursuit of comic book illustration and just a huge influence in general since his big-league debut in Longshot #1.

Arthur Adams's Man-Thing

Arthur Adams is a beast for detail, to the extent that he's developed it into its own medium-- he seems to use ludicrous detail the way other artists wield acrylics or oils. He's taken it to an entirely different plane over the years. And, not surprisingly, he's had a reputation of sorts for not getting his books in on time.

Now I'm not going to go so far to presume that I draw, ink, or even wield detail to the extent that Mr. Adams does. But his work, and my longtime fascination with it, has inspired me to develop a style that really puts down a lot of ink, usually in small, and not always clean lines in hatching.

My Own Daredevil, with plenty of hatching

In the Daredevil piece above, you can see me sort of getting carried away with the inks, almost not knowing when to stop. The hatching is intended to develop form and promote the illusion of mass in his body, but very often I'm only flattening things out. In other words, I ink to the point of excess.

And I've recently acknowledged it, and am trying to stop.

--

The inking angel depicted above is, sadly, a real angel. The super-talented and super-nice guy Mike Wieringo tragically passed away in 2007 in the midst of a celebrated career as a comic book artist, and left a multitude of loyal fans to wonder what might have been. I met Mike in Baltimore a few years before his death, and I found him to be friendly, accommodating, and honest.

Mike Wieringo's Fantastic Four

Mike's own style certainly had its share of detractors, but he was also on my short list of artists to watch and be inspired by. And unlike Arthur Adams, Mike's style was greatly reserved and simplistic. There's no hatching, no heavy and laborious working, and seemingly no effort. Quite simply, he's the day to Arthur Adams' blackest india ink night.

Since I've gotten back into this style of artwork just a few short months ago, I've really struggled to find my own voice or signature style as an inker. I love the Adams look but certainly don't want to just mimic it-- plus I worry about becoming an artist who just can't work quickly enough because of all the detail. On the other end of the spectrum is Wieringo, who draws so differently than I do that I'm not sure how good such a simplistic style would look over my pencils. Either way, I think there's a fine balance between the two to be found, and I've spent some time recently exploring that balance.

My Own Flash, with no hatching whatsoever

In the Flash piece above, I laid down the law to myself:  NO HATCHING. NONE. And I think I still tried to cheat in a few places. But, as a professor, one of the greatest things I've learned in art projects is that by withholding certain practices or techniques, a student can learn to appreciate, execute, and better identify the need for other techniques. So I turned the tables on myself here, and learned quite a bit from my temporary ban on hatching. Mostly I learned how natural it was for me to just overwork things, and HATCH FOR THE SAKE OF HATCHING. Not good, and certainly not necessary.

I anticipate this to be an ongoing battle as I settle in to a more comfortable style. But I thought it might be worth sharing the struggle between the angels and devils.

MEANWHILE, AT THE BOTTOM OF THE OCEAN...

Pen & Ink on Standard Stock

Inked on Date: May 7, 2014

Really enjoyed throwing this thing together. Like so many other kids from the 80's who watched and loved the SuperFriends but ultimately became a Marvel reader... I've always had a thing for Black Manta. But I don't know much about him at all.

This will definitely be inked.

WOLVERAMPAGE!! Inked

Pen & Ink on Standard Stock
Inked on Date: May 7, 2014

So much for exercising restraint during the inking process, right? I guess I just saw exactly in my mind how I wanted this inked, and I executed it faithfully to that vision. I did manage to resist the urge to keep adding detail in an effort to separate the figure from the ground-- I'll admit the inks sort of blend into each other a bit here, and it lacks a proper focal point-- but I've learned that this is best left to the discretion of the colorist, and attempting to overwork the inks to compensate is typically excessive and tends to only hurt the final result.

Color will come. It's too late to turn back now.

NEMESIS

Pencil on Standard Stock, Digitally Colored

Original Creation Date: May 6, 2014

Thought I'd have a go at Mark Millar's contest over at MillarWorld. To be honest, outside of Kick-Ass I'm not very well versed at Millar's characters... but this guy Nemesis seemed like a fun little draw. He was once described as "what if the Batman was really the Joker." Which explains the bloody head.

Experimented pretty heavily with the vector technique applied in the Joker Madness piece posted not long ago, with some more traditional coloring thrown in over top for good measure. Lots of Illustrator, and lots of Photoshop at play here.

Also worth noting is that to achieve some of the textures and random lines throughout this piece, I actually took the original sketch and, well, crumpled it up a bit. Heresy, right?!