Sunday, December 22, 2013

Inhuman and Joker sketches

Thanks to a fan for pointing these out to me. Comic Book Resources posted their weekly AXEL-IN-CHARGE column sheding some light on the Inhuman delay (pushed to April 2014) because of some creative differences between Marvel and Matt Fraction. However Joe is working hard on the new story written by Charles Soule and Alonso posted a few sketches.

Also, Joe posted a character study of the Joker recently that has fans dreaming of Joe doing a Batman book. Check it out.

Saturday, December 21, 2013

50th Anniversary of the X-Men

Marvel is releasing a poster to commemorate the 50th Anniversary of the X-Men. Joe Madureira's art is featured at the bottom. It's repurposed artwork but it's a cool poster none the less.

Saturday, November 23, 2013

Random Joe Madureira art

Joe has been on a posting frenzy and has uploaded some sketches/concept art pieces for all to see. Check them out!

Saturday, November 16, 2013

Amazing Link Sketch by Joe Madureira

Joe asked fans for input on what to draw for a sketch and chose Link from the Legend of Zelda. Check out his awesome rendition.

Here's what Joe had to say about it.

**"HEY!" "LOOK!"** ( Navi voice ) My take on Link from the Legend of Zelda games. It's sort of an amalgamation of all the versions of Link from all the games. I like young Link for some reason, more than the 'badass' older Link. Go figure!

This was so much fun I'm going to hit some of the other characters on the massive list you all generated in the coming weeks. Inhuman has me pretty swamped, but I will make it happen!

Thanks so much for the support over the years! I truly feel blessed to still be doing what I love, and that you guys still want to see it. Your excitement gets *ME* excited. Couldn't do it without you. Seriously. *THANK YOU!*

Inhuman #2 Cover Art

Joe Madureira has posted a sketch and final colours for the cover for Inhuman #2 that's due out in February 2014.

Wednesday, November 06, 2013

Masters of Anatomy

Just a heads up that Joe Madureira is contributing to a kickstarter project called "Masters of Anatomy." It seems like a really cool book and if you're an artist or have a desire in learning to draw the anatomy of people it's definitely worth supporting/buying.
Masters of Anatomy is a one-of-a-kind anatomy book drawn by 100 animators, illustrators and comic book artists. It features work from world-class artists like Humberto Ramos, Francisco Herrera, Pascal Campion, Florian Satzinger, Warren Louw, Loish and many others. The result is a volume unlike anything that exists today. A must have for any aspiring artist; digital or traditional.

Support this Kickstarter here -

Thursday, October 31, 2013

Inhuman concept sketch

Today Joe Madureira posted a concept sketch for fans to drool over in anticipation for the new Marvel series Inhuman. Here's what he had to say.
Check out this exploration drawing I did for Medusa (Inhuman) ! Just thinking about different ways she might use her hair. Nothing's officially approved, just exploration. I'll post more soon!

Wednesday, October 09, 2013

NYCC Battle Chasers Sketches

Joe Madureira has finished his two new Battle Chasers sketches for the New York Comic Con. They'll be 11x17 prints available in Artists Alley table L2. Signing times are 10:30am-12:00pm and 3:00pm-4:30pm Friday-Sunday during the New York Comic Con. Joe also answered a few questions about the prints.
1) Yes, Monika's boobs have gotten a little smaller (!)
2) Poor Garrison was going to be featured in his own print, but I didn't have time, and he ruined the composition of the team shot. So--I promise I'll do one of him for the next show. I didn't forget him!
3) I will look into some sort of online store where you can buy stuff without going to a convention.
4) These two particular prints are grayscale and resemble penciled line art on an 11x17 bristol board. Ie. It looks like pencils. I will have 3 other full color prints available that some of you may have seen at SDCC.
5) Yes, I do hope to get back to Battle Chasers someday. I do still love these characters, which I hope is evident in these drawings. And honestly, I don't know that I'd ever consider reviving a book that was 12 years old if it wasn't for all the insane protesting that you guys do. So--thanks.

Monday, October 07, 2013

Joe teases new Battle Chasers Comic Con Sketch

I don't know about the rest of you but I can't wait to see the finished product of this Battle Chasers sketch! Joe will have a new sketch for the New York Comic Con that starts on this Thursday October 10. I think it may top his Red Monika sketch from last year.

Sunday, September 15, 2013

Savage Wolverine #8 Preview

Over at Comic Book Resources they've posted some preview pages of Savage Wolverine #8. Joe Madureira's art looks great! Check out the pages below and purchase Savage Wolverine #8 this Wednesday!

Tuesday, September 10, 2013

Marvel Announced Inhuman #1 will be out in January

Expect the first issue of Inhuman to hit stores early next year.

Marvel NOW, editor-in-chief Axel Alonso told USA Today that Matt Fraction and Joe Madureira’s Inhuman spins out of Marvel’s current Infinity storyline, focusing on events that take place after a large portion of the human population is exposed to the terrigen mists, which give the Inhumans their powers. Check out the cover for the first issue below.

Saturday, August 24, 2013

Savage Wolverine #8 Pages has posted a few pages for Joe Madureira's last issue of Savage Wolverine... #8 is due out in stores next month. Check out the art below!

Sunday, July 14, 2013

Joe Madureira to launch new Inhuman series

Some exciting news for Joe Madureira fans. Shortly after his Savage Wolverine stint Joe will move over to help launch the next Marvel universe post-Infinity event called "Inhumanity" with Inhumans #1, a new ongoing series written by Matt Fraction. It hasn't been discussed if he will be the regular artist or if he will just pencil the initial few issues but we may find out more during San Diego Comic Con next week. Check out the cover for the first issue!

Wednesday, June 19, 2013

New Savage Wolverine Pages

An interview with Zeb Wells over at Comic Book Resources has a few pages from issue two of Savage Wolverine featured. There's one never before seen page and two others we've seen the pencils to but not the colours. Check them out!

Thursday, June 13, 2013

Joe to draw variant cover to X-Men: Battle of the Atom #1

*** UPDATE ***
Unfortunately this cover was never made. I guess made a mistake advertising a variant cover by Joe Madureira. Sigh... Guess We'll have to wait for Savage Wolverine #8 and Inhumans.
*** END UPDATE ***

The Marvel comic solicitations for September 2013 were just released and I've discovered that Joe Madureira will be drawing a variant cover to X-Men: Battle of the Atom #1. Hopefully we'll see the artwork soon! For now check out the inks to Savage Wolverine issue #8's cover and his X-Men #1 variant cover without the typography.

Saturday, June 08, 2013

New Savage Wolverine Pages

Savage Wolverine #6 comes out next week and will begin the three issue arc featuring art by Joe Madureira and written by Zeb Wells. Here's the official cover as well as two new pages showcasing Captain America and other Avengers!

Wednesday, May 29, 2013

Wells and Madureira Interview at CBR

Comic Book Resources had an interview with Joe Madureira and Zeb Wells to talk about their upcoming Savage Wolverine arc. It begins with issue #6 due out to stores June 12th.

CBR News: Zeb and Joe, this story started off as "Avenging Spider-Man" tale before becoming a "Savage Wolverine" story about Logan and Elektra. Spidey still has a presence in the story, though. What can you tell us about his role in this story? Is he the Amazing Spider-Man or the Superior Spider-Man?

Joe Madureira: He's really not in it all that much, but it's regular Spidey, not Superior Spidey.

Zeb Wells: Spidey shows up at the beginning and end of the arc. I like it when he pokes at Wolverine's image as a stone cold killer, so having him around really shows the two worlds Wolverine lives in; the more "heroic" world of the Avengers/X-Men and the grittier world of his past.

Zeb, we've spoken previously about your thoughts on Wolverine, so let's chat about Elektra. You wrote a "Dark Reign" mini-series and a "Shadowland" one-shot featuring the character, so I'm guessing you have an affinity for her. What do you find most interesting about Elektra? Which of her qualities are you interested in exploring in this story?

Wells: I love writing Elektra. She's the walking embodiment of that deep, scary soul-sadness we all get sometimes. She's lost too much and sees no hope of a normal life, which is interesting because it's the exact opposite of Spider-Man. It's fun to see Wolverine with Elektra on one side of him, and Spidey on the other. He's caught between those two worlds. Should he let his past consume him, accept that he's a killer and function like Elektra? Or should he trust Spider-Man and believe that deep down he's a good person and a hero?

How would you describe the dynamic between Wolverine and Elektra when your "Savage Wolverine" story begins? These characters know each other and have worked together before, but do they necessarily like and trust each other?

Wells: After the events in "Enemy of the State," Wolverine owes Elektra a lot. I think she's one of those people who doesn't even have to ask for his help. She needs something; he's there. So they trust each other, but they only relate on a warrior level. Elektra and Logan don't get together to talk about their feelings. They get together when someone needs [to be] killed.

Can you tell us any more about the plot of your story and the inciting incident that brings Wolverine and Elektra together?

Wells: Elektra discovers that Bullseye's body has been stolen, and the Kingpin knows who did it. This forces her to work for Fisk again, which she doesn't love, obviously. Logan is the only one she knows will back her up without question and do whatever is necessary to get the job done.

What's the setting of the story? How important are the buildings and environments to the overall story you're telling? What do they add the tale?

Madureira: I hate environments; I think they should all be CG --

Wells: We wanted to break from the norm and make sure the locales were not a character in the story.

Madureira: In all seriousness, the story takes place in various locations around (and beneath) NYC, including Central Park and of course the Shadowland complex. In general though, I always let the characters take center stage. I don't think, "Okay, here's the environment, now I'll drop the character in." I always start with what I want to see the character doing, what pose and how big they are on the page. Then I draw just enough background elements to give you some sense of where they are but not enough to distract from the characters. Not saying that's the best approach -- but it's sort of how I think. I'm a character guy, after all.

You've previously revealed that some new agents of the Hand would be Wolverine and Elektra's chief antagonists. What are their motivations and allegiances to the Hand? Are these characters working for the Kingpin's New York based faction, the Japan based group or are they an independent faction?

Wells: They are ancient Demon-Ninja who answer to no one. They have been resurrected by more traditional members of the Hand to deal with the perceived weakness of Fisk's leadership. All they care about is the survival of the Hand.

Joe, what was it like designing these new Hand characters? What common elements did they need to have? Were there any characters that proved to be difficult to design or especially fun to bring to life?

Madureira: I absolutely loved drawing these guys. I've always been crazy about all things feudal Japan -- Samurai, Ninja, etc. and I have literally been dying to draw the Hand. I think I have jokingly brought them up as potential adversaries in every Marvel book I've worked on at this point, so you can imagine how happy I was to finally get my wish. The new guys are sort of "stand out" characters that push them away from traditional ninja and more into character archetypes like an old sage, a hulking brute, and my favorite -- a creepy little girl in a Kimono with a cracked doll face mask. I think there were about 5 or 6 brand new characters in this story (and one cool dude who only survives for one panel.)

Finally, your "Savage Wolverine" story sounds like a gritty, exciting tale of bloody blades and martial arts mayhem. Can you offer up any concluding thoughts about the book's tone, scope and scale?

Madureira: I'd say that description sums it up pretty well. It was really fun to go a little darker and grittier than I normally do.

Wells: There are a lot of fun twists and turns in the story, so I hope people check it out for the aforementioned mayhem and stick around to see where it goes. Joe and I are both really proud of it.

Madureira: It was a blast working with these characters and with Zeb again (he's quite a character himself). I really hope people dig it!

Monday, May 27, 2013

New page from Savage Wolverine featuring Elektra

This image came from a fan of this site, Ferran, and seems to be a page from Savage Wolverine featuring Elektra! Thanks for the tip man!

Wednesday, May 22, 2013

Marvel Now X-Men #1 Variant Cover by Joe Madureira

This one slipped under the radar! I guess Joe Madureira will have a variant cover for the launch of Marvel Now's X-Men ongoing series. This had to be a last minute idea on Marvels behalf. Here's the only preview I could find... hopefully we will see a higher resolution version before it hits retail next week.

Thursday, May 16, 2013

Newsarama interview with Joe Madureira on Savage Wolverine

Over at they have an interview with Joe Madureira and Zeb Wells talking about their upcoming 3 issue run on Savage Wolverine. Give it a read and check out the new pages!

Newsarama: Zeb, Joe, following the Avenging Spider-Man arc you did together, you're working again on Savage Wolverine. What's unique and special about this partnership that has you returning to it?

Zeb Wells: There's an energy to Joe's artwork that I really like writing for, and the storytelling is so strong. It's just so much fun to be alone in your office — which is usually so depressing — and seeing his artwork in your head as you write. It makes it a fun experience.

Joe Madureira: I'm blushing right now! [Laughs.] Originally when we were trying to figure out what I was going to work on at Marvel, they had sent me stuff from various writers — I had just been away for a while. I didn't even know what characters were cool anymore, or what was going on with Spidey. I hadn't been reading it. They sent me the Lizard stuff that [Zeb] had written, "Shed." It was literally a stack of comics, knee high, and those stood out to me as being my favorites. When they told me that Zeb was available to do the first Spidey arc, I was super-excited.

He just writes a funny Spider-Man, but his badass characters are cool too, like Wolverine. I've told him before — I just sometimes will laugh out loud while I'm laying out the page. I don't get to do comics that much anymore, so I'm kind of spoiled that it's such good stuff to work on.

Nrama: This arc originally started life as an Avenging Spider-Man story in the very early going, but you were able to transition and it was pretty much constructed as a Wolverine story from the ground up at this point, right?

Wells: Yeah. Luckily, just an outline had been written, and even that outline needed work because it was a little too Wolverine centric. So when it turned into a Wolverine story it was fairly easy to shift everything around to make it from Wolverine's point-of-view. But we still have a Spider-Man cameo in the first issue, which I think is pretty fun.

Madureira: And the last one. I think it just works so much better with Wolverine and Elektra, I can't really imagine anything remotely like the story we did with Spidey as the main guy. For me as just a fan, drawing Wolvie and Elektra together beating up ninjas is like a dream come true. I'm glad we went that route.

Nrama: Based on what's been revealed so far, it seems like something of a timeless story — it's in continuity, but not necessarily something strictly tied to anything else, and pretty much anyone can jump in and know what's going on. Is that the case?

Wells: Yeah, absolutely. It does exist in continuity. It deals with some of the Kingpin's politics with running The Hand. But you don't need to know any of that to enjoy the story. All the stakes are clear from the beginning.

Madureira: I was digging out all of the old Frank Miller Daredevil and Elektra stuff, and the Bill Sienkiewicz Elektra Assassin, all that good stuff. That was my teenage years, right there.

Nrama: Let's talk about the story itself — you mentioned that it involves Kingpin and The Hand, but with the first issue a month away, can you share a bit more about the story and what Wolverine and Elektra are out to do?

Wells: It starts with Kingpin having trouble as the head of The Hand. He sees The Hand as a tool to use in his quest to expand his criminal empire, and there are factions of The Hand that aren't OK with that — they have their own ancient agenda.

They’ve stolen Bullseye's body and want to bring him back to life to test the Kingpin. That of course brings Elektra into the fold, because she wants nothing more than to stop Bullseye from being brought back to life.

When Elektra shows up on Wolverine's doorstep and asks for help, Wolverine doesn't need to hear anything more than that. A weekend out with Elektra just tearing stuff up doesn't sound terrible to him.

Nrama: And the role of The Hand has allowed you to add some new characters to the mix?

Wells: Yeah. That's another thing I learned in the past Avenging Spider-Man arc with Joe. If you're not having Joe design some new characters you're really missing out. His sense of design is so great that I really wanted to give him a bunch of stuff he could go crazy with.

Madureira: I love The Hand, and that period of Elektra, and Marvel. There is a slight homage to the cover of the Wolverine trade paperback of the Frank Miller issues, where he's got a pile of ninja on top of him, and he's got a chain in his teeth. I was like, "Oh my god, that is the coolest thing I've ever seen." I kind of played off that for one of the covers. I'm just excited about that whole theme, so designing some new, important Hand guys was definitely really fun.

I like coming up with new characters. Whether it's revamping an old character no one likes or just coming up with brand-new stuff, that's kind of what excited me as an artist. Plus, I don't have to use reference as much. "What is that guy's costume?" I made it up, I can draw whatever I want!

Nrama: Joe, obviously Uncanny X-Men was the first big project of your career. Do you find that it's still the same basic things that are informing your take on Wolverine, or has it evolved a great deal for you?

Madureira: You know what's funny? When I draw Wolvie and Spider-Man — maybe I'm just my own worst critic — but I try new things each time I draw them, because I don't love my Wolverine, yet. And I've drawn them so many times. There's just some certain characters that in my head — "It'd be so cool to draw them" — and then I do, and I'm not that excited about it. When I drew Captain America in The Ultimates, I hated my Cap, even though some people are like, "Man, your Cap's cool!" and they made statues out of it. I don't know.

I like Leinil Yu's Wolverine better. I struggle with the classic Paul Smith and Art Adams and John Byrne stuff — that was my first exposure to Wolverine. Then the recent guys that do darker, grittier, more realistic stuff, like Leinil. I'm like, "Where am I in there?" I feel like I'd have to do a monthly Wolverine book for like a year to finally get a handle on him.

Despite all that, I still love drawing him. Love drawing the Hulk. Love Spidey. There's just certain characters that I could probably draw everyday until I die, and I wouldn't get tired of it. Like Hand Ninja. And Moloids, it turns out. [Laughs.] We found out I like drawing Moloids a lot.

Wells: Those Moloids were great.

Madureira: The Kingpin will be replaced by a Moloid as leader of The Hand!

Nrama: Are you inking the story yourself, or is it colored straight from pencils?

Madureira: It's colored over the pencils by Peter Steigerwald, and he's doing some pretty awesome, funky stuff with the line art.

We talked early on: "Let's not darken the line art and just make it black, so it looks like it was inked by a charcoal pencil." He's been doing this cool, watercolor-y little fills and stuff on the black areas. It's pretty rad. It's definitely way more atmospheric and gritty than I've ever seen my stuff before.

We talked about the Eletkra Lives Again book, and I believe Lynn Varley painted it, and it had a grittier palate to it. He's kind of been just messing around, trying to come up with a unique look. I've been really excited by the stuff he's been doing so far. I did ink one of the covers, but that's the only piece that's inked.

Nrama: Neither of you are as firmly entrenched as the day-to-day Marvel business as some other creators are — do you find that's helpful perspective? Has it allowed a little bit of a different outlook, a fresher take on some of these characters?

Wells: I hope so. When you're working in other disciplines you hope that when you come back to comics it’s made your writing stronger. That's why I want to do comics forever, because it's so fun to go out and do something else and learn about your writing or your process, and then come back and see how it affects your comic book writing. I think the stuff that I'm writing now wouldn't be the same if I hadn't done other stuff.

Madureira: Once upon a time, when Steve Skroce worked on The Matrix stuff, they were like, "What do you like better, comics or movies?" It's that question I get a million times about games. He said sometimes he really misses the freedom of just working on a comic by himself, or with a very small team. And then after a while he missed being in a studio with like a bazillion people, and feeding off their energy and ideas.

That is so true. After being in a studio, working on games stuff, I'm like, "Oh my god, I wish I could just sit in my room for a week and listen to music and draw by myself." But at the same time, I know that all the games and character design and animation storyboards, and all the stuff I've worked on over the last few years have definitely changed my work — hopefully improved my work. I think you can see the evolution. I'm way more confident about creating new characters. Back then I was so scared. Now I'm like, "What? Bring it on!"

Saturday, May 11, 2013

New Savage Wolverine Image

Joe Madureira has revealed a new Savage Wolverine image. Check out Wolverine in his old costume!

Tuesday, April 30, 2013

Art Advice 2.0 from Joe Madureira

Joe Madureira has continued voicing his art advice with details on what gear he uses, his influences, and skills needed for working in the game or comic industry.

Art Advice 2.0

Now for the specific art questions I do get very often:

 1-I use a technical pencil with HB lead 99% of the time. Staedler, Koo-in-oor, Prismacolor Turquoise, it’s all good. Take your pick. I use them all. Sometimes I work on paper that’s a little different ( smoother or more coarse ) and I may move up or down to an H or a B lead if needed. But I find H and 2H digs into the paper and is too hard to erase ( Which sadly I do a lot of ) and B is too soft ( smudges like a mofo.) B is fantastic for going back over lines, darkening , and adding weight to your lines. Basically, ‘inking’ with a pencil. **Just keep a sheet of scrap paper under your hand or you will smudge the shit out of your drawing!!!**

HB suits my needs 99% of the time. Really no need to switch it out, just adjust your pressure. Harder or lighter. Usually I’m too lazy to switch, but I will occasionally. It’s a good idea to keep 2 or 3 pencils ( ie. Lead holders) handy with different leads so you don’t have to switch them out constantly.

2- Paper—I like to work on smooth paper. 11x17 or 8.5x 11 depending on what I’m doing. Bristol with a smooth ‘plate’ finish is what I like. The coarser paper doesn’t handle large areas of blacks or ‘shading’ very well when you use a pencil, as you can see the grain in it ( and I currently don’t use an inker ). Not to mention, I don’t like the paper fighting me—feels nice to just have the pencil ‘glide’ across the paper. This is total personal preference. I know plenty of artists that love the grainy paper. I’ve actually been using the ‘smooth 100lb cover stock’ Bristol that they sell at Kinkos lately. It’s not the greatest, but it gets the job done. I’m comfortable with it. And it’s cheap. It is HORRIBLE for ink, so I recommend it for pencils only. It’s also a little thin. Sadly a lot of paper manufacturers have started to suck, and there are many rants by professional inkers about the downgrade in paper quality from manufacturers such as Strathmore, etc. Do some research if you are planning on inking your stuff. Speaking of which…

3- Inking—having done this myself recently, there are two huge problems to look out for when you are selecting the right paper for handling ink. 1) make sure the paper isn’t so grainy that you ‘lift’ some paper grain as you are inking. Especially if you are using pen nibs!! The paper literally flakes apart. And 2) some paper that is nice and smooth doesn’t have the problem of breaking apart—but once you go over the final inks with an eraser to remove the stray pencil lines, the ink comes up with it. Ie. It doesn’t stick to the paper well. You will end up having to do hours of ‘touch ups’ to get those faded grey lines looking black again. Many paper wholesalers will let you test sheets of paper in the store. I highly recommend this!!! That said, I still haven’t found a paper I love for inks yet. The search continues. Until then, I’m sticking to my smooth Kinkos paper. And using a pencil

4- I do NOT work digitally for the most part. Not for comics anyway. I will occasionally do ‘silhouette studies’ in photoshop to get a character nailed down if I have too many ideas or I’m not feeling confident about my direction ( there is nothing like ‘layers’ and ‘undo’. ) , but more often than not it’s pencil on paper. Depends what I’m working on. Tablet/photoshop lets me experiment more and be wishy/washy / try new things but I find that I approach things differently when I put pencil to paper. I’m more committed/ confident and I often like the results better. Often times ( but not always! ) , your first attempt is the keeper. Go figure! Again, this is personal preference. It really depends on how confident/ experimental you are ( and how cool your Art Director is ) . Some guys can fill an entire sheet with 50 variations on the same thing. That’s okay. If it’s in your head, put it on paper! You have to get that shit out into the world! It’s not good to anyone locked up in your brain.

5- My influences, in no particular order- Art Adams, Alan Davis, John Byrne, Mike Golden, George Perez, Bernie Wrightson, Jim Lee, Mark Silvestri, Mike Mignola. On top of that, many, many Japanese manga artists. Anime series. Video games. Film directors. Nature. And lately, countless artists all over the web. Everyone finds inspiration in different places. It doesn’t matter as long as you’re excited. Most mornings while I’m having my coffee I’ll browse the internet for inspiration to get me pumped. DeviantArt is fantastic!

6- Working in Games—For concept art, much of it is digital ( I use photoshop, many use Painter, Manga Studio, etc ) , but believe it or not, it’s still a lot of pencil on paper ( for me especially ). You can take your sketchbook anywhere, and you never know where you will find inspiration. Draw often. 3D modeling--- it’s either 3DSMax ( what we used at Vigil ) or Maya. If you learn one, you can figure out the other fairly easily. So don’t stress it TOO much. If there is a particular studio you want to work for though, you may want to find out what they are using. Animation, same rules apply. For 3D sculpting, most studios use Zbrush. There are tons of forums for pretty much every discipline with the absolute best talent in every field offering advice. If you aren’t already soaking this stuff up…you should be. Post your stuff. Often. Heed the advice of your peers. And you never know, you may actually impress people and make a name for yourself! The important thing is, get your stuff out there! Many project leads look to sites like deviantArt, CGhub, etc. to find awesome talent. Get your stuff up there.

7- For either Games or Comics—you absolutely have to learn Illustration. Figure drawing. Perspective and lighting. Animation ( for killer poses and moment ) . A lot of concept design and comic illustration/ visual storytelling is about *CHOICES*. You can copy an artists ‘style’, how he lays down lines, but it’s really the ‘choices’ they make that makes them unique. You can’t think like them. You never will. But---When all else fails, copying your favorite artists and trying to figure out WHY they made the choices they made is extremely valuable **AS AN EXERCISE**. It certainly helped me. Just DON’T copy stuff when you’re working professionally and your work is being published. Everyone will know, and-- It’s just embarrassing. ..

8- Don’t worry too much about your ‘style’. Everyone stresses that. When I started I had no idea what my style was going to be, I was just a horrible amalgamation of all my favorite artists. It will come to you in time. Every drawing you do will get you closer to ‘your’ style. Because it’s about your decisions. They are different from everyone elses. You can copy the lines but you can’t think line someone else. It’s all coming from you. Just keep drawing.

I’ll update soon with some more, but that’s the major stuff. Good luck!! And make sure you post your stuff. Use the internet to your advantage. This is a valuable tool we did not have years ago when I started!!!!!!

Sunday, April 28, 2013

Red Monika pencils from SDCC 2012 sketch

Today Joe posted the pencils to his San Diego Comic Con sketch of Red Monika he drew last year. Hopefully he'll have another killer sketch for this years comic con which takes place July 18–21.