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Description
This is the first page of two from The Darkness issue 86 samples Weems [link] and I did.

They were done from thumbnails in the script by Phil Hester.

The set up- A character has just flown out of this dungeon and the Rasputiny guy is frozen in place.

Action!-

So Joe Weems and I combo-ed on this. We both worked on everything from laying out the page to figure structuring to final details or rendering.

We were working side by side and would trade pages back and forth and work off what the other had done.

It was not only fun but a good exercise in knowlegde sharing. I think we both learned more than if we had done these alone.

We tried to do something that would not only appeal to the Top Cow audience that is used to there house style, but also put enough Michael Golden-y, Art Adams-y cartooned goodness to appeal to a larger crowd.

There's also a little Eric Larsen-y in the last panel. Always good to use a pinch of Larsen in a big action shot.

Joe did 90% of the lighting on the face in panel one.

It reminds me of a shot from The Big Combo by DP John Alton. You have you subject lit by the natural light source in the scene, then throw a light perpendicular to that which lands on the subjet. It creates a focal point and adds some drama...or melodrama.

Then as the camera moves in on panels two and three we add more black to the Rasputin-y guy to take the focus to Jackie sportin' a big ole Darkness shiv.

We had a blast drawing what we called the "splurch" panel. Gotta love doing sound effects by hand.

The innards are pretty accurate. Lotsa reference.

Now go compare them to the published version. Smack!

Description
This is the first page of two from The Darkness issue 86 samples Weems [link] and I did.

They were done from thumbnails in the script by Phil Hester.

The set up- A character has just flown out of this dungeon and the Rasputiny guy is frozen in place.

Action!-

So Joe Weems and I combo-ed on this. We both worked on everything from laying out the page to figure structuring to final details or rendering.

We were working side by side and would trade pages back and forth and work off what the other had done.

It was not only fun but a good exercise in knowlegde sharing. I think we both learned more than if we had done these alone.

We tried to do something that would not only appeal to the Top Cow audience that is used to there house style, but also put enough Michael Golden-y, Art Adams-y cartooned goodness to appeal to a larger crowd.

There's also a little Eric Larsen-y in the last panel. Always good to use a pinch of Larsen in a big action shot.

Joe did 90% of the lighting on the face in panel one.

It reminds me of a shot from The Big Combo by DP John Alton. You have you subject lit by the natural light source in the scene, then throw a light perpendicular to that which lands on the subjet. It creates a focal point and adds some drama...or melodrama.

Then as the camera moves in on panels two and three we add more black to the Rasputin-y guy to take the focus to Jackie sportin' a big ole Darkness shiv.

We had a blast drawing what we called the "splurch" panel. Gotta love doing sound effects by hand.

The innards are pretty accurate. Lotsa reference.

Now go compare them to the published version. Smack!