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From: SuperPatriot: Liberty
& Justice #1
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Although the cover of Freak Force #11 was my first published work,
I only did 50% of it, due to time constraints (namely, my day job).
This time around, Dave let me loose with one caveat: No white-out,
no mistakes! I spent the three days carefully inking with surgeon-like
precision. I was a bit surprised to see that Dave had already come
up with a signature for me, which, although nifty, I've never used
since. Mostly, because it's so big and bold that only next to the
Johnson signature would it look appropriate. Frankly, I was grateful
that Dave added my name and gave me full credit, as I was his assistant.
Most assistants get no credit and very little money. Dave took good
care of me on both accounts. |
| Penciller: Dave Johnson |
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From: DC Overpower
Card Game
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| As
Magic: The Gathering was all the rage amongst gamers, DC and Marvel
joined in on the craze, using the wealth of existing characters from
their respective universes. Jason and I had wrapped up a run on The
Ray, so we were the natural choice for the cards representing...The
Ray!. My favorite is 'Energy Shield', with Jason's interpretation
of The Atomic Skull. most recently, Jason has since been doing storyboards
and directing at Nelvana on shows like Rescue Heroes. His own character,
Doc Thunder, has been in TV development as well |
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Penciller: Jason
Armstrong
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From: Legends of The DC
Universe 3-D Gallery #1
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This piece, previously published in digitally-altered
form for the 3-D process, is presented here in the original black
and white line art for the first time. At this time, Greg and I were
really starting to gel on the then-new Birds of Prey series, although
my control of the China marker on Black Canary's jacket was still
a little wanting. The background, not shown here, was a large version
of the icon that represents Black Canary's partner, Oracle. |
| Penciller: Greg Land |
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Golfer
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| This
dates wayyy back to 1986, when I was attending the Art Institute of
Pittsburgh. I had found a photo of one of my dad's golfing buddies,
and thought it was perfect for a spot illustration project. We were
to incorporate the spot illo in with 'dummy copy', galley type. In
other words, pasting a photostat for placement where the actual copy
would lie. This may sound like an ancient, dying dialect from the
far corners of the Earth, but that's how it was done before desktop
publishing became the new standard. Tap your walker twice if you remember
paste-up. |
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Penciller: Drew Geraci
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| A major
eyesore, to my regret, is that where the photo ref cut off at the
man's foot, I didn't finish drawing it. Despite that, I'm pleased
with the Terry Austin-ish inking I feel I achieved with it, so early
in my artistic aspirations. I'd like to revisit that style some day. |
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From : The First #27 (Rejected
Cover #2)
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Before
Tocchini, Al Rio was slated to draw this issue, and before THAT, Ivan
Reis. Each completed a variation of the same layout before being moved
to other books (Rio to Mystic # 30, Reis to Lady Death). I inked all
three versions, but unfortunately, I can't find the Reis version.
On the final Tocchini published version, I signed my name "Geraci
3.0", as I was weary of the layout by that time.
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| Penciller: Al Rio |
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The Path
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was originally intended as the cover for Crossgen's samurai title
The Path, done in advance for Diamond's Previews solicitation, but
Jim didn't end up doing the issue. He's since moved onto DC's Green
Lantern, so this became an unintended pinup (whether it eventually
got published or not, I have no idea). Jim went crazy with the detail,
so I not only embraced it, but added a lot more unnecessary detail
on the horse and elsewhere. |
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Penciller: Jim Fern
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Chain Gang War # 12, pg.
17
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Alright,
here it is! One of my early inking sample pages, trying out for a
job as Dave Johnson's assistant. Even then, his pencils were very
tight, as you can see by clicking on the line below the art. Dave
was part of the high-contrast black & white graphics movement
in the comics field in the early 90's, the influences of which are
still permiating the field. I didn't stick this sample in the Pencil-to
Ink study, because frankly, it's pretty raw and there's not much to
learn. Dave will probably kill me for posting this, as his art has
improved substantially since this series. His painted 100 Bullets
covers are an incredible showcase for his wild and disturbed imagination.
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| Penciller: Dave Johnson |
| Pencil
version |
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