Wednesday, April 15, 2009

Uncanny X-Men #504 page 3 Step by Step

So this is a good example of how I work - rough in page, establish perspectives and then draw figures so I stay loose and the figures have life. Finish off by double check reference for details such as tattoo equipment and backgrounds. As is par for the course, I found really good tattoo shop ref AFTER I completed page!



  1. wow! thanks for this post. i really enjoy seeing the process artists follow when creating their art. it's like watching you in person. can you post a similar one for covers or splash pages you have done in the past?

  2. I will be doing some pretty thorough step by steps for the X-Men 226 and the Uncanny X-Men 513 cover from sketches all the way through the colors.

  3. Hi Terry,
    Thanks for starting this blog! I was one of the folks in the Yahoo! group asking for more info on your work process. So you start the drawing of the main figures before you have the perspective grid worked out? (This really is a chicken and the egg conundrum - because you need to understand the perspective to draw the figures correctly!) I have heard artists I respect advocate for both ways - Mike Manley says to draw the environment first then place the characters. I still struggle with perspective but find it easier to sketch the scene then start refining the figures and the environment as I rule out the grid. I guess the emphasis of the visual in the panel kind of determines which comes first - in a birds eye establishing shot of the Hoover Dam the perspective grid needs to come early to give that oomph to the panel. Whereas in a battle scene between Captain Carrot and Cuisinart the Shredder, the figure drawing and composition would likely be worked out first - ahead of the background perspective. What do you think?