Here is the Ant-Man Sketch Cover finished painting. For the final stage of this sketch cover painting I worked on the finished black part of the costume. Then went back to the helmet and finished up all the red areas. Lastly, I painted the red parts of the costume. The brushes I used for this stage are the size 5 & 10 spotter, size 2 angle shader and chiseled blender. I continued wit the dry brush technique that I talked about in previous posts. Dragging the paint with dry brush also achieves a satin feel to the painting.
Here is Ant-Man Sketch Cover painting process 2. Started the metal painting stage. This stage is achieved with dry brush layering. Going back and forth with adding the darks and lights. The brushes I use for this stage are the size 5 & 10 spotter, size 2 angled and chiseled blender. The reason I use dry dry brush technique is it picks up the grain of the paper and you get these subtle imperfections that add value to the overall feeling of the artwork.
Ant-Man Sketch Cover Painting is underway. Here’s the beginning process. I masked off the Ant-man with tracing paper and painter tape. Next I layered the paint background with sponges, cheap $1 paint brushes and Liquitex Freestyle Splatter Brushes.
Here are some of the highlights from my 2018 SDCC experience. I did a couple portfolios this year. I saw the awesome Joe Jusko, he’s the reason I decided to pick up a brush and start painting. His new art book “Joe Jusko’s Marvel Masterpieces” was on sale and I was able have it signed. I visited my art friends booths, had a look at the many exhibitors, took pictures of cosplayers and hangout with family and friends while I was there. I took way to many pictures to share them all so here are some of my favorites.
Here’s the finished up Sinestro Sketch Cover and the last step to my process. This is my favorite part of the process, adding all the little things that bring the artwork together. I add yellow to the energy with marker and acrylic using dry brush. For the ring power glow I use the same technique. Plus I went back to enhance the in the eyes.
Here’s the next step in my creative process of adding color to this Sinestro Sketch Cover. Topic’s are very similar to watercolor. You have to start with the lightest color first and slowly build up layers of overlapping darker colors and tones. Like with watercolor paint you need to use the white of the paper for highlights throughout your illustration. So here is progress shots 2.
Here’s my starting process to laying down color on this Sinestro Sketch Cover. Since the DC Sketch Cover surface takes markers well I’ll use a combination technique of Copic and Liquitex. After the base background is put down, I’ll mask off the logo and Sinestro with tracing paper and painter tape. The star field is achieved with Liquitex Free Style Splatter Brush. After the splatter paint is dry I’ll add the glow to various splatters along with burst to complete the feel of space.
Here is the finished up Superman Red Son Sketch Cover. The artwork was rendered with Copics, Faber-Castell artist pen, uni-ball Signo Gel Pen, and to achieve the heat vision glow I used Liquitex.
Here’s progress shot 2 of this Superman Red Son Sketch Cover. The collar and cape are finished up. Now I’m moving on to adding color to the costume. Medium used for adding color is Copics.
Here’s a progress shot 1 of me adding color to this Superman Red Son Sketch Cover. Tried something different with the background this time. I used the Tom Holtz Collection Rays Stencil to help with the background. I like the effect and will try again with a future sketch cover. The coloring is rendered with Copic Markers. For the highlights in the hair I used a uni-ball Signo broad white gel pen.