WOLVERINE AND THE X-MEN #34

My inks over Nick Bradshaw's pencils.  This time, I'm showing you guys all the splash pages in the book starting with a double page spread.

SCARLET SPIDER #19

My inks over Carlo Barberi.

Splash page with a lot of crosshatching in the background.

In panel 3, notice how I used a finer line to ink the benches that inside the silhouette.  While the outside benches are given a thicker line.  This gives it a feeling that you're seeing through the Silhouette.  

This last panel was fun!  The figures in the original art was about a few inches wide.  I was able to get in there and ink all the details with a nice fine tip pen.  Of course, I used my magnifying lamp to make the job easier.

JUSTICE LEAGUE OF AMERICA #4

Here are some pages with my inks over Andres Guinaldo's pencils. We worked on the Martian Manhunter backup story

Double pages spread.  You seen that waffeling pattern in the center panels going from left to right?  That's one of the texture I like doing every now and then by using a crow quill and bouncing it up and down rapidly.

SCARLET SPIDER #18

My inks over Carlo Barberi

Scarlet Spider and Wolverine getting ready to walk into the double page spread below.

Fun times!  Check out all the white halos around character and objects.  And the white halos within the objects of some.  Only way to separate black from blacks is to create a white halo line in between.  Otherwise everything will mesh together. 

On panel 4, I had to ink the speed lines separately.  The best way to make all those speed lines perfectly align with each other was for me to ink it on a separate area.  I've inked Scarley Spider and the webbing directly on the panel.  Then on the back of this original art, I've printed out Blue Inks of panel 4 again.  Only this time, I inked only the speed lines cutting through the Blue Line figure.  When done, I scanned both image in and cropped the speed lines behind Scarlet Spider and the webbing.  If you looks closely, you'll notice the speed lines cut perfectly across the images in front of it.  

WOLVERINE MAX #7

Here's my inks over Guillermo Mogorron's pencil.  I was asked to help out on two pages from this book.  Not sure who was inking him before or if he was inking himself.  I was asked to mimic the current inking style and was sent references.  The inks looked rough and and a lot of blunt lines.  None of that thick to thin pointy lines.  After studying the ink references, I approced the pencils the same way. 

The majority of these two pages were inked with microns with different tip sizes.  I even used a micron brush to spot the blacks to give it some of that unfinished black look and feel. 

And lots of splatter and spatter everywhere.  The roughest I've even done on inks.  Right here!

WOLVERINE AND THE X-MEN #33

My inks over Nick Bradshaw's pencils

Splash page with Wolverine and Nighcrawlers.  Those guns and bullet holes through Wolverine reminds me of the movie Matrix.

Twelve panel comic page.  Jammed packed with details.

Almost splash page.  It's actually a two panel page.  This second panel was a blast to work on.  Texture is always fun to work on.

Archer & Armstrong inking sample

Valiant Entertainment contacted me as asked if I would do a sample page over Emanuela Lupacchino's pencils.  I was a fan of her work from X-Factor and thought it would be fun to try inking over her, even if it was on a sample page.  Below is the result.  

I think that's Eternal Warrior chasing down Archer and Armstrong.

BATWOMAN #19

My inks over Trevor McCarthy.  This project, I was doing finishes on. I've spotted all the blacks, deciding there the blacks should be.

Some of the drawing was skteches, so I tighten them up a bit.

More of the same where I'm deciding on where all the blacks should be.  

Here's a good one.  Those room divider screens, I forget who sent me references of the room divider screens.  I was sent a color picture of them and was asked to draw them into the art in panels 1, 2 and 4.  What I did was used photoshop, manipulated the color image into a black and white shade.  Then pasted that up on the artwork and printed the whole thing out on Blue Line to ink.  Once I was inking, I would ink over those images and that's how they look above.  Same thing for panel one in the page below.

MARVEL SIEMENS part 3

A while back, Siemens has Marvel work on One and Two of their web comic for them.  They contacted Marvel again and the same art team got together and worked on a third.  Again, my inks over Kevin Sharp's pencils.

With the animation, you see a escalator getting flooded.  The lady in the black outfit is moving up the escalator, while Iron Man snatches a girl, then flies towards the viewer. 

This panel, Iron Man flies towards the villain and there's an explosion.  That first panel was a doozy to ink.  All those lines.

And here's a scene where the villain controls the tide to form a hand reaching out to Iron Man.  But Iron Man blasts through the water hand and hits the villain. 

CATWOMAN #19

Here's my inks over Rafa Sandoval's pencils.  Below are a few of the pages I've worked on.  Originally, Rafa Sandoval drew Catwoman normally in a black outfit, without that straightjacket.  The editors asked me make Catwoman wear a straightjacket.  If I can add that on.  I said 'sure' and the results are as follows...

All I did was erase Catwoman's top, some of her arms, and redrew her to to be wearing the straight jacket.

Now when I got to this page, Catwoman was originally cutting the glass to escape.  I contacted my editors and asked about the straitjacket deal.  Because shes supposed to be wearing through the rest of the comic.  Editor said to make her poke her arm out the straitjacket to cut the glass, then have her tuck her arm back inside the straitjacket for the rest of the comic.  

Now Catwoman is out of her cell.  Notice how I drew the top right shoulder of the straight jacket.  There's a hole in it with thread coming apart.  Indicating that Catwoman placed her arm back inside and there a rip on that area of the straitjacket.

X-TREME X-MEN #13

Helped out on a few pages on this issue.  My inks over Guillermo Mogorron's pencils.  

A couple of days turnaround to work on these pages.  If I remember correctly, I was asked to help out on a few pages on Friday, and had to turn them around for the colorist on Saturday.  So I accepted two pages.  This one and the one below.

Here's the splash page that I also worked on.

Now THIS page above is interesting.  Somebody else inked the page (I don't know who), but the editor who had me work on the first two pages asked me to retouch this previous inkers inks.  They send me the High Res files and I've printed them out in Black.  Then I sent back and retouched all the art traditionally by hand.  Fixing textures, using white-out for corrections, and inking on top of that.  Finally, assing more details to the final pages so it won't look sketchy.

WOLVERINE AND THE X-MEN #32

Another book where I've inked over Nick Bradshaw's pencils.  

A lot of time when I'm posting image here, I would pick what I think is the best three images crom the crop of pages I've inked.  With Bradshaw's work, it's hard for me to pick the best because they're always all good.  So this time, it's random pickings for your viewing pleasure.

Wolverine's arm hair.  Looks like a lot of work, but it's fun to create that texture.  I just ink one row at a time.

More arm, shoulder, and neck hair.  Those handful of belts was a challenge.  Believe it rt not, I've used templates on all of them.  I'll usually never have the correct template for the curves, so what I do it use a partial template, then move on to another curve using another template.  Sometimes, on rounded belt, I would have used 4 parts of a template.

Nightcrawlers on a leash.  And that guy shooting Wolverine, is the writer Jason Aaron!

SCARLET SPIDER #17

Here's Scarler Spider #17.  

My inks over Carlo Barberi's pencils.  Wolverine vs. Scarlet Spider.

That was a fun three page sequence.  :)

WOLVERINE AND THE X-MEN #31

Here's Wolverine and the X-Men #31 With my inks over Nick Bradshaw's Pencils.

Double page of the classroom.  

So where there are characters upside done, I would also flip the page upside down to ink.  But then again, I constantly spin the pages as I ink to get a comfortable inking angle.  So sometimes, it doesn't matter if characters are upside done for me.