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Cap vs. The Super-Adaptoid!
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If
this looks a bit familiar, that's because it's already seen print
in Captain America #50 (Vol. 2, pre-Marvel Knights version, for those
keeping score). It was a pinup page originally inked on a scanned
blue line image by Bruce Timm! This left the original uninked until
now. No fool I, I didn't even attempt to ape Timm's brilliant inks,
so I just did my own thing. If it looks even MORE familiar, Cap's
clearly lifted from Kirby's Marvelmania poster circa 1970. Brush on
the contours and the feathering. Quill on the 'scales'. Bricks by
rapidograph pens and brush.
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| Penciller: Ron Frenz |
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Dracula
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The
Lord of Vampires by the master of light and shadow himself, Colan!
I decided to use graytones, inspired by his breathtaking black &
white Creepy and Eerie magazine work. Instead of watercolor, I employed
my beat-up Micron Brush pen. It barely shows as a warm grey on the
paper, until you build on it over and over. Then I took a razor to
it for the fog effect, plus some white-out drybrushing.
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Penciller: Gene Colan
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The Thing Wants YOU!
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Although
my initial instinct is to ink The Thing in a Sinnott style, I resisted
because Scot's style calls for something more modern. I found myself
adding little bits of Scott Williams scratches on Benji's hide, without
overdoing it. It's easy to get caught up in rendering and lose the
penciller's style, which I try to avoid. At the request of the client,
I added the drop-shadow at Ben's feet.
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| Penciller: Scot Eaton |
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Fantastic
Four #521, Page 22
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Just
like the Frenz Cap piece above, this page was originally inked on
a blue line scan. This time, I did my best to emulate Karl Kesel's
work line-for-line, including the drybrush effect he added to the
shadows on Galactus. Most of this page was inked with a set of rapidograph
pens, even the feathering, where I'd hold the pen down on the paper,
then (using a ship curve) flick the line until it thinned out. I've
been a big fan of Kesel's for years.
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Penciller: Mike Wieringo
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Dr. Strange Levitating
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I'm
always a sucker for a great Doctor Strange image, and this was a pleasant
surprise! I haven't seen Doug Rice's comics work in ages. What I remember
most was his work for First Comics' Dynamo Joe in the '80's. Incorporating
the window from Doc's Sanctum Sanctorum is a brilliant design element.
Also, Doc's squarish head reminds me of Dan Adkins's brief run on
the book.
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| Penciller: Doug Rice |
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Silver
Sable
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Apparently,
this piece was intended as a proposed revival of Silver Sable's series,
done in a Danger Girl vein. I used my impressive skills of deduction
to figure that out: When I saw the words "Silver Sable"
written on the back, you couldn't get that past me! Ron penciled this
incredibly tight, including the contour line weights, so it was more
of a trace job than the usual Frenz fare. He used more hard graphic
shadows and shapes for a slick look. Due to all the, uh, curves, I
used rapidograph pens with ship curves mostly.
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Penciller: Ron Frenz
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Doctor Doom
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This
drawing was considerably looser than usual, so I was given permission
to go nuts with it. So I did. When you look at the pencil version,
you'll see Doom's eyes are sleepy looking, with no scars around them.
I followed his light source with drybrushing. Since Doom's Mask is
gray, I added small parallel tech pen lines to give a gray effect.
I taped the paper at an angle and broke out my old T-square and gingerly
inked each line, eyeballing the distance between each space. In the
old days, I would have measured out my lines and made 'tic' marks,
but I skipped that step. There's may be a few lines with larger spaces
between them, but not enough to break the gray effect. |
| Penciller: Mike Grell |
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