Archive for February, 2009

Knife Fight In The Alley

Here’s another commission piece, with LEONARDO and SHREDDER mixing it up. TMNT is ®Mirage Studios.

I’m still accepting commissions. Check out a bunch I’ve posted here. If you are interested get in touch.

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Pre-Computer Special Effects

Back in the old days, before desktop publishing revolutionized the look of comics, we had to try all kinds of weird tricks to get interesting special effects. The effect I used a lot was the “surprint” which involved doing a second piece of artwork, to be merged with the original in the film process, which would print in color only.

Here’s a good example from the cover to SWAMP THING #79, which I just unearthed and had a buyer waiting for. The shot of Superman is the black plate (inked by Tom Yeates over my pencils) with the red line indicating where the surprint will go. The second piece of art, with SWAMP THING’s airbrushed face inside tendrils of energy, is the surprint itself, which printed as green on the cover.

And here’s how it looked on the finished cover.

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President’s Day!

In honor of the day, here’s a page from an early Underground story which I both wrote and drew. It’s a Lovecraftian take on Presidential politics and the mind-blasting things that I imagined going on beneath the Nixon White House. I started this nine pager in 1975, post Watergate and pre-Kubert School. It saw print in DR. WIRTHAM’S COMIX & STORIES #2 in 1976.

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Glorious Retro-Vision

In all the retro style comics I’ve done over the years, the Holy Grail was to get the color to duplicate an authentic “big dots on pulp” look. We succeeded in the 1963 series because we actually hired the guys who used to do the color seps for old comics and we printed the books on real pulp. But since then, computers have taken over comics pre-production and the “big dots” option in Photoshop doesn’t really fool the eye.

Even though I was a neophyte with Photoshop, I started experimenting and came up with a way to scan in old comics, sample their big dots and pulp, and paint with it. The effect, which you see here on a page from “America’s Best” in Tomorrow Stories Special #2, is tedious but it really worked. In fact, I’ve gotten a number of queries by folks who were fooled completely into thinking there really was an America’s Best in the 1960’s.

The story has never been collected in trade paperback. Script by Alan Moore, pencils and color by Rick Veitch, inks by Andrew Pepoy and lettering by Todd Klein.

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The Days Of Wine And Spinach

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Fashion Week

In another sign of just how deeply comics are penetrating the greater culture, this year’s Fashion Week saw a comics themed show presented at London’s Orbital Comics. The setting on the catwalk was an “author and artist signing” and, sparing no expense, comic book personality impersonators Owen Bevel and Miss Vava Voom were brought in to show off the latest line of King Hell fashions. More photos from the opening can be found here.

Mr. Bevel’s career has recently taken off with reports of Warner Bros. publicity department signing him to a seven figure contract in the lead up to their spring release, WATCHMEN.

Special thanks: Cully Callaway

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Abby And The Sprout

This week’s piece of original art that I’m putting up for sale is a nice shot of ABBY meeting the SPROUT from SWAMP THING #74, Page 19. Script and pencils by Rick Veitch, inks by Alfredo Alcala and lettering (on the board) by John Costanza. This piece is on the oversized boards DC used for a short time in the late 1980’s, measuring 13.5″ x 19.5″. It’s in excellent condition with normal editorial blue-lining and lettering corrections.

I’d like to get $150 for it. If you are interested email me.

Check out the other pieces still available here.

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Gnarly Doodle

Put a pen in my hand and a sketchbook in front of me and you never know what’s going to come out.

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The Student And The Master

Here’s another study I did while at Kubert School. This one is a copy of the classic TARZAN illustration by master illustrator J. Allen St. John. Looks like I added some drool to the lion’s maw that wasn’t in the original. Pencil in sketchbook, 1977.

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The Abyss Stares Back

Here’s a page from Tommy Lee Edward’s and my QUESTION miniseries from a few years back. We reinvented the venerable Ditko creation as a mad-as-a-hatter urban shaman of sorts, utilizing a visual trick swiped from STRANGE SPORTS STORIES to show the separate reality VIC SAGE operated in. Naturally, fans of the original QUESTION got in an uproar because we mixed mysticism with Ayn Rand objectivism. But that was our point: true objectivism ultimately leads to higher levels of consciousness.

The series has never been collected. ©DC Comics

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