This is the Rogue litho I just finished for Sideshow Collectibles; it comes with the Rogue comiquette if you order the exclusive version.
Since my hand is messed up, I couldn't pencil and ink this the way I'd like. So, since I needed to make sexy lemonade out of this mess, I took my original concept illustration and just colored & painted it in Photoshop.
Before anyone asks, here's the reasons why I cropped it... First, I thought that the Black Cat print was dull, and one of the reasons is because it's full figure. You don't NEED a full-figure print of the character.... because you have the statue! You can see her toes THERE. I decided to crop in so that the piece would be about the face and the body language. I also cropped in because time was tight, San Diego was looming, and the AC was out and it was 95 degrees in my house.
As for technique/method.... I took the original high-rez Grayscale scan, cropped it, and converted it to CMYK Mode. It looked the same. I then used things like Variations, CHannel Mixer, and Hue/Saturation to change the gray values to have hues. At that stage, it looked like an oil painter's underpainting.
I then went in and built up the highlights using the pencil tool set on 10-21% opacity to slowly build up my "brush strokes" and give it an analog feel.
The highlights on the latex were accomplished using the lasso tool and my color Fills set to Screen or Linear Dodge.
I just finished "Cover Run" (it's been on my 'to read' pile for a while - no offense..."Brush with Passion" is still sitting there). I have really enjoyed your work for some years now; in the past I have often been tempted to buy books simply on the strength of your covers – “Wonder Woman” and “Power Girl” in particular – but the interior art was seldom up to snuff. That’s why “Cover Run” was not to be passed up! I enjoy most of the artists who have inspired you as well…perhaps this is why your style appeals to me more than, say, Alex Ross (not to disparage him any – his work is admirable). Maybe it’s the Norman Rockwell influence that always appealed to me…to my art teachers’ chagrin. I was gratified to find several You-Tube videos you posted which explain your technique – it was very illuminating and inspiring. I haven’t looked too deeply into your Photoshop colorization process (it’s an expensive program that I have limited experience with). I was also pleased to see how you gave preferential treatment to the folks waiting outside at a Comic Con to purchase a sketch from you (I suppose that was your wife, Alison Sohn). It’s just refreshing to see someone with such talent who is willing to share his knowledge and is also sensitive to his fans. I have been following “Before Watchmen”: Particularly your “Dr. Manhattan” and Darwyn Cooke’s “Minutemen” – both are awesome! I was particularly arrested by the picture of Ashley Taffar in your book – what an expressive and pretty face. I did a search to see other pics of her and was surprised to see none (she must be yours exclusively). An aside: You seem a little defensive about using photography as a tool – don’t be – it’s a tradition that predates Rockwell considerably: Leonardo da Vinci used a camera obscura way back when. (P.S. Scan your pages [like David Mazzucchelli did] – I would really love to see IDW do an Artist’s Edition of your work). Thanks - Howard
I really need to learn more about doing progressive latex surface lighting, especially linear dodge and how to make a progressive surface across a dark color like black. Usually it fades to gray, so I'm not sure how to get that Overexposed look.
Also, I'm not good at making decently shaped hotspots over a body's surface.