Bummer. What are they from?Two, but I am 85% sure that one of them is actually a scan of the page. I'm too scared to take it out of the frame in case it's not :\
I still haven't gotten any interiors, but I've come close to pulling the trigger several times. I love my Geldoff sketch, though. I think it's way cooler, anyway (and it actually looks better than a lot of Bagley's interiors). Immonen's USM pages are on my soon-to-buy list, though.
As an artist myself, doing 3D and 2D work, I've been working digitally with my Wacom for about 15 years. What I will say is this:
1. Turnaround times with digital are generally much quicker
2. Making corrections is immeasurably easier
3. Working digitally means that you have access to a wider range of tools
4. Your color range is better
5. Getting critiques and getting your work approved is much quicker when you don't have to deal with couriers
6. Asset management and archival is easier
7. Digital archival also means that you escape the hassle of having to restore old, faded prints
I can keep going on, but I think that you get the point. As a collector, it's nice to have a good old fashioned sketch drawn on paper. In a production environment, where time is money, digital has a huge advantage.
Plus, beyond Photoshop, there are a number of modern applications like SketchBook Pro, Corel Painter, and ArtRage that can faithfully mimic real media - everything from pencil to acrylics to watercolors. The software is so advanced that you can't even distinguish real pencils from the digital ones.
For any of you who have an iPad and also like to draw, invest a few bucks on the iOS versions of SketchBook Pro, ArtRage, & SketchClub. With practice, you'll be plenty surprised by what great art you can create digitally these days. And those great iOS apps are just a taste of what you can do on a PC.
As longtime comic fan with a massive collection, I get the appeal of old school analog art. However, nothing stays the same. Things change. Change can be good so embrace it.
For the record, a bunch of comic artists have been working digitally for years now. You just don't read about it too often. I'm pretty sure that CBR had a look at JoeQ's office a few years back and even he had a Wacom Cintiq screen/tablet on his desk. He and Byrne have also been known to also prototype their bigger sets in 3D and then paint over them. The X-Men's Messiah War storyline also made use of CG sets in a bunch of places too. Digital art in comics has been out there for years. You just have to know where to look.
Last edited by cookepuss; 04-02-2012 at 05:50 PM.
Here's another way in which digital can be used to enhance an artist's already strong skills: http://leinilyu.deviantart.com/art/s...torum-52955441
Apparently a few years back, Leinil Yu built a digital Sanctum Sanctorum piece so that he could use as a virtual reference.
EDIT>>> Here's the Sanctum model JoeQ designed for his work in OMD (I think). http://www.giantmonster.tv/giant/?p=222
Last edited by cookepuss; 04-02-2012 at 05:58 PM.
Just scan it Wyokid I want to see it too. One was the one Hulk punched Sabertooth right?
The other one is the "big time superhero" page.
I can't wait to read the new issue on Wednesday. I was expecting his arc to be longer than 3 issues. I figured he would be on the book until Spider-Men wrapped up and then he and Pichelli would be on a rotating schedule. If he's only on for 3 issues and he mentioned in another interview that another character comes on to help trains Miles, then I can't help but think it's Uncle Aaron.
I wish he said he was going to be depicting Miles Venom Blast more like the way Samnee did. I love Pichelli's artwork but those little lightning bolts look too cartoony. They also have brought up Miles having some more powers in a number of interviews. I wonder what they will be.
Last edited by SpiderX; 04-02-2012 at 07:50 PM.
He wasn't kidding about Bendis and the double page spreads. I went and took a look back at the first couple of issues. Issues 1 and 3 combined have 9 of them. It's pretty awesome actually. Feels like you get more story that way.
Compared to the mainstream MU, I'd say that for a good while the Ultimates line had the better artists on deck.
Currently reading: Nova, Deadpool, Swamp Thing (probation), GLC (probation), Manifest Destiny (probation)
For me, art isn't the problem with either UXM or Ultimates. It's the writing, with Ultimates being the stronger of the two. UXM is just really weak. I love that they changed the origin of mutants. It fits well with what the rest of the Ultimate Universe is about. I also love what they're doing with Kitty, Bobby, & Johnny. The rest of it.... Just a mix of interesting ideas and really bad implementation. I'm also not too hot on the fact that they dumped Kong off panel.
Overall, UXM just too 616 superhero-y and not enough of that real world vibe that the UltimateU was originally going for. Something has gotten lost in the translation. The Ultimate line was about presenting new ideas and twists on these core characters. With Pietro's machinations and Stryker, it feels as if they're rehashing some stuff.
Ultimate Spider-Man is really blessed to have a string of great artists and the mighty Bendis behind it.
Sorta OT: For those you still interested in the type of digital work that was presented in that article, here's some recent Quesada stuff I stumbled across. One is a snippet from last week's DisneyXD "master class" where he drew the Hulk. The other is a walkthrough of his work on Fantastic Four's 50th Anniversary cover. Both works were done in SketchBook Pro. Wish that Disney clip was complete because the final result was pretty great given his relatively limited time frame.