ProcessBlog

2014/09/8

I love working with BOOM! Studios! These folks are making some amazing books and it’s a joy to be a part of it all. This year, we’ve been working on Robocop. I just received the first few issues and the books are amazing. Being the cover artist, I don’t really get to see the rest of the book until it’s completely finalized. But Alex Galer and Ian Brill make this whole book come together like nobody’s business. It’s a joy to see how the work of Carlos Magno, Marissa Louise, and my own communicate.

This is the process for Issue #2 Cover. I’ve also turned it into a gif you can check out in my tumblr.

2014/07/1

It’s been a while since I last did a process post. This one’s long overdue.

I chose my contribution to SCAD-Atlanta Illustration’s Playing Card Deck, The Queen of Hearts, because it was as simple as one of my processes can be. It has few, very well-planned layers that go a long way.

2013/09/19

As I’d mentioned before, I’ve been working on a series of covers for Clive Barker’s Next Testament. The folks behind this project are incredibly talented: art-direction by Chris Rosa, script by Mark Miller, interiors by Haemi Jang, and, of course, Clive Barker himself! Forming part of this team has been inspiring but seriously intimidating.

The more covers Chris & I work on, the more freedom he’s bestowed. It’s incredibly flattering when an art director trusts you so! For issue #8, his direction was simple. “Here’s the thinnest of prompts to all your maximum freedom: Paris, Wick, Julian, and a crowd, with Wick preparing to smite so many people…”

Although I experimented with some very violent compositions, my two best ideas were indeed the simpler ones.

Chris chose thumbnail #1, Wick descending over a graphic map of Paris. He recommended we bring Wick’s hands into the composition and the feet be slightly pointed.

At this point, I took the liberty of having Wick look straight at the viewer. It made the piece more engaging. I also traced over google maps…

… and I’m not ashamed…

… since, once the colors came in, it started looking morbid, like some sort of circulatory system. It was a very pleasant surprise. I wish I could show how Wick’s colors came about with a more detailed, visual explanation. Unfortunately, I go crazy painting this guy and I end up doing it in one single layer. Even worse, I always forget to take screen shots. I’ll try to remember next time.

I decided to enhance the circulatory system concept by adding colors associated with blood: plums, blues, and tons of scarlet reds…

… and specks and droplets always come in handy!

Just last night, Chris was so kind to send it back to me with title in place. It’s definitely been the proudest I’ve been of these covers!