Wacky Reference Wednesday, No. 156

Wednesday, November 16, 2011

Daredevil #1, Page 18. 2011. Ink(ed by Joe Rivera) on Marvel board, 11 × 17.25″.

Most of the reference for this page comes from my digital archive of New York City rooftops, amassed over years of internet scouring. None of the images are mine, but were all found via Google Images and Flickr. You won't find a similar composition in the lot, but you will find buildings and architectural elements peppered throughout. The only reference photo I took myself is shown below, a hand poised to catch a returning billy club.

Here's a quick breakdown of the process from a Marvel Spotlight feature:

1. Layout: This is a 4 × 6″ comprehensive sketch that I show to my editors and collaborators for approval. Captions are included to ensure the page reads fluidly.
2. Digital Composite: Here I copy and paste the layout into my digital template and rearrange elements as needed. I then superimpose perspective guidelines to help with backgrounds and architecture. Borders are drawn in digitally to streamline the process.
3. Pencils: All the elements are fully rendered, Xs indicating solid black to the inker.

4. Blue-Line Print: My Dad prints this out and inks directly over it. Borders and any finalized elements are printed in black.
5. Finished Inks: He scans it and sends it back to me
6. Final Product: I make any final edits, including post-production transformations like the negative image in the last panel. This is turned in to my editor who passes it on to the colorist [Javier Rodriguez].


  1. Whoa...hold on. So what's the blueline used for after the initial pencil rough? It doesn't look like you use it for final pencils do you? You pencil right over it?

    Secondly...your Dad inks your work? That is a trip, man. Wow!

    Been loving the work you guys are doing on DD.


  2. The blue line you're talking about looks like it's just the first pencil sketch converted to blue-line.

  3. Yes on both accounts, Shane. There are 2 blue-line stages: one for me and one for my old man.

    Lee, you're absolutely right. I usually rearrange elements ever so slightly, sometimes cutting and pasting as I see fit. This way I don't have to light box anything. The most important addition is the perspective grid, which is added digitally.

    Thanks, CJ!

  4. Paolo, that's some intense rooftop perspective! Makes me appreciate every Daredevil you do. Well, all my comics! Look at all the work that goes into them!

    (I haven't been to the store in a while. -_-)

  5. Thanks, Narciso. That was a tough shot, indeed. Issue 7 was sort of a relief, as the whole thing takes place in the Catskills... during a blizzard. It's like every artist's dream.


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