Wacky Reference Wednesdays, No. 212

Tuesday, February 12, 2013

Daredevil #3, Page 5. 2011.
Ink(ed by Joe Rivera) on Marvel board, 11 × 17.25″.

The Daredevil Crazy-Super-Awesome-Deluxe-Omnibus hits comic shops today, collecting DD 1-10.1, which (sadly) contains my entire run of 6 issues. This page is from issue 3 and features reference both lofty and (Google) earthly. First, the obvious allusion:

Michelangelo would be flattered, I'm sure.

And second, a view from the street, courtesy of Google. We're on W 24th Street, looking east at Madison Square Park (although the sky bridge I drew is on the opposite side of the park). I'm guessing the Klaw Sound Shadow found refuge in the Chase Bank on the corner. The SUV is from a Sketchup 3D model that I superimposed in the digital composite stage.

View Larger Map

Check out the bottom panel in the blue-line print below. Aside from digital borders, I ink geometric shapes in Photoshop. Rivera Secretssssssss: my Dad hates inking circles.

Blue-Line Print

Digital Composite
Layout, 4 × 6″

raw inks by my Pops

Sometimes I would make minor digital edits, post-inks — often because I forgot something, but also because I think in ink. There are some decisions that I can't make until I see the stark contrast of black on white.

...with digital edits


  1. I love your work. but sometimes i think you work too much. I mean, it's great, but many artist work with blue pencil for layouts and the finish their pages with a black one.

    Why you work so much? (Just curiosity, in a politely way)

    Keep going!.

    1. Guilty as charged! I often wonder myself. Believe it or not, it's so that I don't work as much. When I first started out, I would draw and redraw and redraw. Now that I do everything in stages, it allows me to leave things behind and concentrate on finishing what I have in front of me.

  2. So much great information. Thank you.
    In the pencils I see a lot of opportunities for reflected light conditions, particularly on faces. The translucency of the graphite lends itself to it, I guess. I was just looking at a gif I made of your DD #9 art too:
    The Molochs have such beautiful shading.
    So, question, have you ever been tempted to not go so opaque in the inking? Like a Neil Adams/ Tom Palmer approach. If so, did you decide it wasn't worth the trouble or it wasn't effective in most cases?

    1. I've definitely done it, though mostly for sketches and such, not finished pages and covers. I love the look, but it's tough to keep consistent, especially with someone else inking. I sorta did it for my Wolverine 5.1 cover, but not to a degree where anyone would notice.

  3. Yeah, I can imagine there being too many variables that would just slow down the process. Too many choices in terms of cross hatching or too many chances to screw it all up. Okay thanks. Also, love what you and your dad do. Beyond top notch.


Copyright © The Self-Absorbing Man
Design out of the FlyBird's Box.