Wacky Reference Wednesdays, No. 227

Wednesday, June 26, 2013

Age of Ultron #10A.I. Variant Cover. 2013.
Ink(ed by Joe Rivera) on bristol board with digital color, 11 × 17″.

It's Wednesday! Time for another cover on a Mark Waid story, this time with art by Andre Araujo (be sure to check out his blog... looks like he's got his some beautiful creator-owned projects lined up). Age of Ultron #10A.I. is out today (preview here) and it explores the future of Hank Pym, who has gone by many names in the Marvel Universe. Pictured above is Ant-Man, Goliath, Yellow Jacket, Giant Man, and Ultron (Pym's creation). You can see me doing my best pensive Pym impression below.

"Hmm... I wonder if I should go outside today."

inks by my Pops
blue-line print of my pencils

digital sketch

digital prelims


  1. Probably best you didn't go with the thumbnail on the far right with Giant-Man squatting as it looks like he's about to sit on someone. While I really like the costume history of the final, I think this sketch of Ant-Man standing in Giant-Man's shadow could have some potential as well.

  2. Yes... or have a movement. That's actually Ultron in the shadow pic, but same basic idea.

  3. I love your work and I greatly appreciate you letting us see your creative process. It truly is an educational and invaluable experience for other artists.

    I'm curious, as I experience this somewhat myself, do you find yourself losing that spontaneity or "freshness" having to redraw or transfer, going from anywhere between the prelims to the digital sketch stage to the pencil stage? If so, is there any way you have remedied it?


    1. Thanks, Erin — glad to hear you're enjoying the blog!

      You bring up a good point, as it's something I think we all struggle with. I almost always prefer my sketches to the finished product. I haven't inked myself much since my Dad took over, but I find using a large brush helps in that regard. Same goes for painting. What looks like "freshness" is often a legibility of process that is inherent in the medium. The bigger and bolder the strokes the more effortless it looks (whether or not it actually was).

      As for prelims, I actually find that drawing over enlarged print-outs of my sketches helps me to capture that initial energy. It's much easier than trying to redraw every panel at a larger size.

      Lastly, if I'm inking myself, I try to draw less with pencil, more with brush. Sketch in only what you need, nothing more, and let the brush fill in the rest. Of course, this is all easier said than done.

  4. Its interesting you mention the preference of sketching to the final product. I think this may be a issue with creative people in general. Both Alfred Hitchcock and Stanley Kubrick talked about how they loved the pre-production stages of filmmaking but that actual directing could be a real chore at times. It may be a case of how "wanting is better than having". When you're sketching, the best parts of the piece are still in your imagination and the potential possibilities are infinite. When its all said and done, it may look nice, but what you see is what you're stuck with.

    1. Exactly. I think all artists can agree that it looks better in their heads.


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