Temporal, Chapter 1
This cover was pencilled my my long-time friend and mentor, Angel Medina. His work has been a huge inspiration to me, and I am incredibly grateful that I had the opportunity to ink this epic work. Inking it was extremely challenging but more fun than anyone should be allowed to have working on someone else's art.
Prologue Page 1
A collection of Egyptian gods and goddesses who once inhabited the universe of Temporal. I decided to colorize this initial prologue sequence to give it more of a storybook feel. I wanted to really hammer home the larger-than-life nature of these gods and goddesses and, really, I love experimenting with techniques in digital coloring. I make up a lot of my own as I go along.
Prologue Page 2
The god Osiris reaches out to early man, jump starting evolution and setting forth an irreversible chain of events. My favorite part of this image is the sky. It's 100% digital, which I was unsure about at first. I'm so used to doing everything by hand, that approaching anything from a purely digital perspective can be a bit intimidating, but I'm pretty happy with the end result.
If it seems like there's a vast difference in style and execution between the pencilled pages for this issue and just about everything else on the site, it's because there is! These pages were created years apart from the other work featured here. A good friend told me that "you have the freedom to take as much time as you want to on your book." I do hold to that, and I'm working on speeding things up, but really, I'm working on moving forward, regardless of how long the process takes. I've had the notion of re-drawing these pages, but I don't want to fall into the "George Lucas" trap. I'll never get anything done! And I'd rather present new and finished material than the same thing in a different wrapper.
I tended much more toward very strict control over pencils when these were drafted. My thinking was that, if ever someone else was to ink them, there would be no guess work. Either that, or they could be colored straight from the pencils with no need for an inker.
You can see that I was incorporating more and more solid blacks into my compositions, but there's still a great deal of feathering and hatching happening everywhere. This is partly to distract the viewer from any shortcomings I may bring to the page as an artist (which is honestly why a great deal of artists employ such techniques) and partly because I just plain love hatching to indicate volume and texture.
I think I may have read a Tony Harris book or something before drawing this. Because, for a while, I was all about crafting compositions that broke the 4th wall. While I was certainly focused on moving the reader's eye through the page and telling the story, I was quite enamored with the idea of making any page I could into a unified piece. Like a cinematic mosaic.
These pages were definitely intended for color. The glyphs outlining the 2nd and 3rd panels are intended to be glowing like green neon. I actually do have the entire first issue in full color. I just haven't decided whether to publish it as such or keep the color designated for the new prologue sequence.
This was one of my favorite pages to work on for the issue. I love drawing hands and splatter, and this page has got those in spades. I really had a thing for stars and swirls, as you can probably tell. They're perfectly appropriate design elements, but I've since toned down the style in favor of substance. Or at least that's what I like to tell myself.