Long time no see. You wouldn’t believe how busy I have been lately. Now i’m on a small hours hiatus and I wanted to update my blog.
Lots of news lately. I am involved in two new projects, both of them will be released and informed when I am able to. One of them is the following issue to a previous one I did and I am pleased to say that I am excited to do it. The other one is more like a fill in, helping hand but excited one. Both paid and both looks great.
Besides I am finishing the following issue and a special of one of my previous work as a letterer. I will also be able to post something when the time comes.
The latests news are about something related to comics, but not as an artist, but as a film writer. Unbelievable. That one will make a huge spot in my work. At least, I hope so.
But first thing first. Early last month I received both issues I bought from comicfleamarket.com of the Bluewater’s Robin the Hood issues I did at the end of 2013 and early 2014. Luis Rivera contacted me to ink his work of the issues 3 and 4 of that book. I instantly said yes to it, despite the fact that B-Prod does not page rate. By that time I needed something out from a known publisher and I decided to do the 2 -issue work for free.
Did that help? Don’t know. Maybe it will, maybe it won’t. Would I recommend that to a upcoming artist? only if he/she decides it would help dealing with deadlines. Looking back it was a great training exercise.
Luis Rivera is a neat, clean and very effective penciler. I really like his work. It shows that he has done some several miles on this job. But I guess he inks himself best. Just like with the “El Viudo” book the firsts pages shows that I struggled in fitting with his pencils and those last pages shown a more tight work. However, after all I think that he inks best his own pencils.
I only saw one small review of the book and besides that the book was released by SDCC. B-Prod does not have Diamond distribution (they use to sell best vía digital Comixology, kindle and other devices), and if you want printed book they are on demand at ComicFleaMarket.com). They have recently done a trade paperback, my first ever, with Fantastic Four artist Mario Guevara doing the cover.
Take a look at these pictures and if you are interested, feel free to grab a copy on the links I posted above.
Here’s a cool Step by step from the latest El Viudo job you’ll see. It’s from Page 7. Pencils by Rodrigo Campos.
I use to take live pics from my job as I am inking with many purposes, but mostly because I want to keep updating my network that i am currently working on different projects and notice cool details of the job as they pop up.
Step 0: Detailed pencils of Rodrigo. Notice how he detailed the glow of the gun at the hand of the character. Light source and dramatist comes from it. Note how he tends to shadow blacks in a concentric orientation. That’s cool and helps.
Step 1: After digital edit (duotone the original and print it in a A3 page), I started with the shapes taking into consideration the source of light, giving the importance of how it reflects in the leather jacket. That’s why I took a tight feathering. (Even thou I think I have improved my regularity on the feathering it’s still an issue to me that I’m gaining expertise every page I ink).
Step 2: Viudo’s leather glove as it’s the nearest part to the light source requieres lots of tiny quill detail, not long feathering there. Besides I wanted to express the hand gesture by making more strong the outline of the hand with a organic stroke. I gaped the gun with some unmodulated lines and spotting the blacks. I added some mask drawing gum for some effect later.
Step 3: Headshot. This is the most important part since it reflects the drama of the moment. The character is making justice AND claiming revenge for an unfairness committed against the undefended children. Here is not old school justice making, this is plain and raw vengeance. So I focused in the eyes and making some cross hatching beneath those eyes to make the light come slowly to the main focus. I inked the hair with a brush in order to give it a more realistic look and by this point I didn’t like how the hat turned out, so I left it for retouch later.
Step 4: Take a look at the glow. There’s the drawing gum that I brushed before the concentric feathering. This was cool how it turned out, since gradient in pencils are easy, but inking leaves you to interpretation. I did 3 layers of feather there, the closest to the white light were small concentric dead lines. The following ones are larger, not equal sized and modulated lines leaving for the darker outside layer with short, closer and energic quill strokes that are all merged in a black spot that will be later merged with the black background.
Step 5: that’s how it looks once every line has being traced. Now it’s time to spot blacks.
Step 6: For that task I use a big flat beveled #8 brush. a cheap one. This is only used for spotting blacks. Now, when the ink nears the inked job I use an old but reliable Raphael Kolinsky 8404 #0 brush. I love that one. For me it’s the best.
Final Step 1: Done! notice how around the glow that surrounds the gun blast how I removed the mask gum. that can be seen in the shaded parts of the gun. I splattered some white inks on that part in order to give more drama to the gun blast and in the gun point I did the same whit regular black ink.
Hope that this helps.
I love this!
Video is in spanish, but it’s the actual moment I opened the envelope to discover the original and share it with you guys.
I have just purchased my first original art! Silvestri / Williams art! early Image art, Cyberforce #1 art!
Can’t believe it’s finally here! Cyberforce Vol 2. #1 Page 11 (1994). Purchased at Mike Burkey from Romitaman.com in a great affordable price for an inker.
I have been searching for this piece for a long time. It shows a normal bar scene, with lots of black/white contrast and I remember that page liked me a lot for two reasons that I have mimicked subconsciously all these years. I love how Marc Silvestri and Scott Williams deals with the bricks and litter at the waste bins. I’m excited seeing live for the first time how they deal with clothing and the small detailed feathering.
I found this piece months ago at Heritage Auctions page and when I was ready to buy it it simply disappeared from the page. I left the project and one day wandering about some other pieces (My set goal was: Early Image top title, with a top penciler, but more important, that should be inked by Scott Williams or Rich Friend… difficult, huh?) I found Mike’s page and it was there! I couldn’t believe my eyes. What I suspect is that Mike bought all Marc Silvestri’s Heritage pieces and offered them in his own page. I did not hesitate. I contacted Mike, who was at SDCC and asked for the piece. After SDCC ended he ask me for several days for the piece to come back home from San Diego where it was displayed for purchasing. After one week he e-mailed me that the piece was not bought at SDCC and it was mine, so he hold up it for me. Nest step is Pay Pal him and wait for it to come. Dude… it took only 3 days to travel from Ravena, Ohio to Santiago, Chile. FedEx rocks.
I strongly recommend if you are a beginner, if you can spend some bucks, to get something, anything from someone you admire in order to be able to analyze how he deals with some problems and solves them. I can’t think I wasted money or it was way too expensive for the results. I have seen Jim Lee’s original art for $30.000 which is insane. Those piece are for safe vaults. This is for studying purposes.
You may not understand what I am babbling in the video but actually I can sum up in some points:
– Original art Paper is way thicker than I thought. My pages are 200 gr. opaline paper, this paper is at least 300 gr, slightly yellow and slightly texturized. However, the ink flows like it’s printed. Beautiful.
– Art size is slightly different than the one I use, so I’ll have to recheck my own page pattern.
– I have always thought that the smallest lines should not be as small as I use them. in contrast, my thinnest line is a cow splattered brush stroke in comparison with Scott Williams’s. Impressive, daring, makes my heart explode with admiration.
– Scott Williams uses own Marc Silvestri’s original pencils, there are some pencil traces here and there. That makes sense, since as you can see on panel 2, they are still sharing studio (the late and admired Homage Studios) which you can see on the bottle label the bartender is using.
– Some letters are masked with scotch film and there are some (not many) with spots, mostly outside the panels in order to erase some lines that surpassed the panel border.
– I’d love to know which ink used Scott Williams on spotting blacks. It’s neutral, it’s dark it shows no gradient and looks it flows beautifully though out the page.
– On the details, cross hatching is brutal. Makes me dizzy. Look at the bartender’s neck. On the last panel, it’s ok, tha background looks slightly messy, but still it does not make the original art less beautiful to me.
Well. That’s it. I hope that I could translate what I am looking here in my next set of pages.
Enjoy as much as I do with this!
Thanks, Marc/Scott and huge thanks to Mike Burkey for the deal.