Dawn of the Black Axe #3 Petersen cover

Dawn of the Black Axe is a 3 issue mini series written and colored by me and illustrated by the amazingly talented Gabriel Rodriguez (Locke & Key) about Bardrick, the first wielder of the Black Axe!

Issue 3 is up for preorder now in local and online comic shops (APR250931 for my cover) And I wanted to use this post to share a deeper dive into the cover art for cover B (I also have a variant cover and there will be at least one other guest artist for each issue)

To the side you can see the finished cover with logo etc, below I go through the art process to create it.

For my cover I wanted to draw both the Elk and the Matriarch since I hadn't gotten to draw them on either of my past covers. It was a tough composition to get the Elk's head in there as well as a view of the Matriarch and moving around rough drawings in Photoshop was the longest part of the layout stage.

I drew the elk from a reference photo, shile also making some adjustments to make it closer to the anatomy Gabe draws for the interiors. I also found a reference model of a tower roof and used that to trace over and modifu for a balcony/parapet of Lockhaven. The rough was also colored just enough to help me make out the various forms from one another.

With the above layout in a state that I liked, I printed it out on copy paper (two sheets of legal paper trimmed and taped together after printing to fit the whole image) and taped to the back of a sheet of 13" x 13" Strathmore bristol (art size is 12" x 12").

I inked the piece on my Huion lightpad where I can see through the surface of the bristol down to the printout to use as a guide while I inked. I used Copic Multiliner SP pens (the 0.7 & 0.3 nibs).

The inking work on this piece was about managing texture on the elk, the stone, the dead ivy, the moss, etc.

The inks were then scanned in and I started the coloring process. The first step is called flatting, basically a color-in-the-lines for professionals with flat base colors (no shading or textures.)

The Matriarch and the Elk's  colors were already established in the series, but I had to alter them to fit the lighting of this scene. The background is basically 2 values of the same violet. There was also a fair amount of work in establishing color holds (areas where I want the lineart to be a color other than black) to the elk the moon and the background.

To render the color I used Photoshop's dodge and burn tools with a textured brush to get the highlights, shadows and textures. The cool lighting highlights were achieved by using the freehand lasso tool with a feather to select areas and color shift them more cyan. I also painted in a bit of moon (slightly offset) in the elk to make it look more spectral.

Below is the solicitation info for the third and final issue that will be in shops June 18th, 2025

CODE: APR250931 (Petersen cover)

(W) David Petersen (A) Gabriel Rodriguez

Bardrick's quest to protect the Lockhaven and mouse territories from the surrounding serpents comes to a thrilling conclusion! Will the Black Axe's first wielder be able to complete his task before the poison flowing through his veins claims his life? And who shall come to his aid in his hour of need?!

Dawn of the Black Axe #3 Rodriguez Cover

Dawn of the Black Axe is a 3 issue mini series written and colored by me and illustrated by the amazingly talented Gabriel Rodriguez (Locke & Key) about Bardrick, the first wielder of the Black Axe!

Issue 3 is up for preorder now in local and online comic shops (APR250930 for Gabe's cover) And I wanted to use this post to share a deeper dive into the cover art for cover A (I also have a variant cover and there will be at least one other guest artist for each issue)

To the right you can see the finished cover with logo etc, below I go through the art process to create it.

Since we are both doing covers for the series, I tried to avoid us drawing the same scene or have the same emotional tone for the same issue.

For his Issue 3 cover I asked Gabe for a cover that's a bit of a spoiler, with the Matriarch Siobhan tending to Bardrick.

In the order of events, I'd described idea for the cover before I had a finished script off to Gabe (due to how early covers need to be done and turned in). It meant that when Gabe sent over pencils, he'd drawn a different setting, and I had to quickly ask for the change (which Gabe accomplished with little impact to the figures.) Later this amazingly clean and detailed inked art arrived in my inbox.

When coloring these Dawn of the Black Axe pieces of Gabe's I start with establishing the color holds (areas I want the inkwork to be a color other than black) like the glow of the lantern and the details on Siobhan's garments, and then start laying in flat colors to establish all the shapes. Anywhere Gabe didn't close off his linework I needed to smudge out my hard line of color in the gaps.

I wanted this scene have a color scheme with muted colors of the tent Bardrick erects in issue 2, but then the lantern to cast directional warm light that was done in the next step.

To render the colors, I used the dodge and burn tools in Photoshop with a stock textured brush. I then lasso areas and color shift them to warm them or cool them. Getting that lantern light was very time consuming––and I had to do it again and again for several pages in the issue itself and I used this cover as my guide.

Below is the solicitation info for the third and final issue that will be in shops June 18th, 2025

CODE: APR250930 (Rodriguez cover)

(W) David Petersen (A) Gabriel Rodriguez

Bardrick's quest to protect the Lockhaven and mouse territories from the surrounding serpents comes to a thrilling conclusion! Will the Black Axe's first wielder be able to complete his task before the poison flowing through his veins claims his life? And who shall come to his aid in his hour of need?!

 

Dawn of the Black Axe #2 Kevin Eastman cover

For Issue 2 of Dawn of the Black Axe (mini series written and colored by me and illustrated by Gabriel Rodriguez (Locke & Key) about the first wielder of the Black Axe!), I asked Kevin Eastman to collaborate with me on a variant cover (Cover C: FEB250075)

TMNT is a HUGE part of my comics DNA, and the first comic I saw that made me understand 'people make this stuff up and draw it––I want that job!' I knew Kevin and Peter had swapped pages of the early issues back and forth and that Kevin had recently done some of that with Freddie Williams on some of the IDW TMNT series. 11 year old me wouldn't believe me if I told him I was going to collaborate with Kevin on a cover for Mouse Guard.

Already knowing Gabe's cover for issue 2 was emotional and featured the elk, and mine was all about anticipation with snakes in a cave, I penciled another scene from the series for the collaboration with Kevin. I drew the snake, Bardrick, and the ground on separate sheets of copy paper and scanned them and assembled them in Photoshop (tinting them different colors just to help see the elements).

These pencils were probably a bit unfair to Kevin since there's a lot going on with the sliced blades of grass, all those snake scales, and the textured ground cover.

I sent it off to Kevin and he lightboxed and inked the cover. At this point I also realized I hadn't made design accommodations for the logo, and called my editors were we made the dcecision to have the C covers be logo-free.

I couldn't tell you what pens Kevin used to ink this piece, but it sure 'feels' like Kevin, all that texture and grit. Seeing the file show up in my inbox made me feel like looking over the old balck and white TMNT work in the comics and RPG--except it was Mouse Guard this time.

I started the coloring process by adding flat color to every area––basically a professional version of coloring-in-the-lines to establish the shape and base color of things like Bardrick's fur, the soil, the snake scales, the grass, Bardrick's cloak, etc.

This step is also where I established color holds (areas where I want the lineart to be a color other than black) on the snake's eyes, the texture in the sky, and a faded one on the snake to help add some depth.

The last step was to render all the color with the dodge and burn tools and shift colors and values around until the piece worked as a whole.

I've found that I need to be more subtle with my choices when coloring Gabe's work than with my own and with Kevins I needed to be more bold.

Lastly, I moved Kevin's signature (that was outside the live area of the art) into the piece as a color hold. He said the only way he was comfortable with that was if I added my signature in with his. A boyhood dream come true.

Below is the solicitation info for the second issue that will be in shops April 23rd, 2025

CODE: FEB250075 (Eastman Cover)
(W) David Petersen (A) Gabriel Rodriguez

The origin story of the Black Axe continues!
Bardrick, the first wielder of the Axe, continues his campaign against the serpents surrounding the mouse territories, but even he can't be everywhere at once...The legendary weapon-bearer must serve his duty, but can he truly manage it all on his lonesome?!

Dawn of the Black Axe #2 Petersen Cover

Dawn of the Black Axe is a 3 issue mini series written and colored by me and illustrated by the amazingly talented Gabriel Rodriguez (Locke & Key) about Bardrick, the first wielder of the Black Axe! 

Issue 2 is up for preorder now in local and online comic shops (FEB250074 for my cover) And I wanted to use this post to share a deeper dive into the cover art for cover A (I also have a variant cover and there will be at least one other guest artist for each issue)

To the right you can see the finished cover with logo etc, below I go through the art process to create it.

I gave Gabe the emotional cover and I opted to focus on one of the action scenes...or the anticipation of one of the action scenes.

There is a cave scene, where I was very much inspired by some of the shadow-on-the-wall cinematography of Stephen Spielberg from Raiders of the Lost Ark. So here I drew our hero Bardrick reacting to what we can't see––yet, though he can. The lighting doesn't make logical sense, but oh well, I liked how it communicated so graphically the point. The shadows were actually gleaned from the flats of the scene in the issue of Gabe's snakes and I altered them here and there to get my shadow shapes where I wanted them while avoiding tangents. 

With the above layout in a state that I liked, I printed it out on copy paper (two sheets of legal paper trimmed and taped together after printing to fit the whole image) and taped to the back of a sheet of 13" x 13" Strathmore bristol (art size is 12" x 12").

I inked the piece on my Huion lightpad where I can see through the surface of the bristol down to the printout to use as a guide while I inked. I used Copic Multiliner SP pens (the 0.7 & 0.3 nibs).

The inking work on this piece was in the shadows making those gradients and avoiding the wall crack-lines.

The inks were then scanned in and I started the coloring process. The first step is called flatting, basically a color-in-the-lines for professionals with flat base colors (no shading or textures.)

Bardrick's colors were already established in the series, but I had to alter them to fit the lighting of this scene. The background is basically 2 values of the same brown and a lot of the heavy lifting of this cover (as well as the work in flatting it) is in those snake silhouettes as color holds (areas where I want the lineart to be a color other than black). I also added color holds to the glow of the lantern and the flame of the candle.

To render the color I used Photoshop's dodge and burn tools with a textured brush to get the highlights, shadows and textures. The warm lighting highlights were achieved by using the freehand lasso tool with a feather to select areas and color shift them warmer I also decided to alter the shadows all a bit cooler because with the warm glow of the lantern, everything was too color matchy-matchy.

Below is the solicitation info for the second issue that will be in shops April 23rd, 2025

CODE: FEB250074 (Petersen cover)
(W) David Petersen (A) Gabriel Rodriguez

The origin story of the Black Axe continues!
Bardrick, the first wielder of the Axe, continues his campaign against the serpents surrounding the mouse territories, but even he can't be everywhere at once...The legendary weapon-bearer must serve his duty, but can he truly manage it all on his lonesome?!

Dawn of the Black Axe #2 Rodriguez Cover

Dawn of the Black Axe is a 3 issue mini series written and colored by me and illustrated by the amazingly talented Gabriel Rodriguez (Locke & Key) about Bardrick, the first wielder of the Black Axe! 

Issue 2 is up for preorder now in local and online comic shops (FEB250073 for the Gabe cover) And I wanted to use this post to share a deeper dive into the cover art for cover A (I also have a variant cover and there will be at least one other guest artist for each issue)

Gabe agreed to do the project, but really wanted me to be the colorist. It's been the hardest coloring work I've ever done...

Since we are both doing covers for the series, I tried to avoid us drawing the same scene or have the same emotional tone for the same issue.

For his Issue 2 cover I asked Gabe to have Bardrick alone and in despair as the spectral elk looms behind him (it will make more sense after you get to read issue 1 next month!).

Gabe sent over pencils (which I quickly approved), and then later this amazingly clean and detailed inked art.

When coloring these Dawn of the Black Axe pieces of Gabe's I start with establishing the color holds (areas I want the inkwork to be a color other than black) like the elk, and then start laying in flat colors to establish all the shapes. Anywhere Gabe didn't close off his linework I needed to smudge out my hard line of color in the gaps.

I wanted this scene (which isn't a direct scene from the issue––but sums up an emotional tone for part of it) to be very blue and set at night. That meant toning down and adjusting the hue of Bardrick and his cloak.

While the flats were easy to establish (only one color hold and a few areas of different color), the rendering is where the work was for my part.

I started by quickly gradating the sky with a paintbrush and then by rendering the elk, all with the dodge tool adding in highlights as through the elk was lit from within and below. to help the ghostly feel I also added an outer glow to the layer and painted in stars (where the stars we see through the elk are at a lighter opacity). I then used Dodge and Burn tools to light the branch and Bardrick from below. To give that warm light I used the freehand lasso with a light feather to select areas to color shift warmer.

Below is the solicitation info for the second issue that will be in shops April 23rd, 2025

CODE: FEB250073

(W) David Petersen (A/CA) Gabriel Rodriguez

The origin story of the Black Axe continues!

Bardrick, the first wielder of the Axe, continues his campaign against the serpents surrounding the mouse territories, but even he can't be everywhere at once...The legendary weapon-bearer must serve his duty, but can he truly manage it all on his lonesome?!

Dawn of the Black Axe #1 Petersen Cover

As recently announced, Dawn of the Black Axe is a 3 issue mini series written and colored by me and illustrated by Gabriel Rodriguez (Locke & Key) about the first wielder of the Black Axe! 

It's up for preorder now in local and online comic shops (JAN250017 for my cover) And I wanted to use this post to share a deeper dive into the cover art for cover B (there is also a Gabriel Rodriguez cover as well as another guest variant)

To the left you can see my finished cover with logo etc, but below I'll go through the art steps.

I gave Gabe the big snake battle cover and I opted to focus on the lore of the story. Fans of Mouse Guard may know I've dropped hints about the legend of the Black Axe through my first two books and a short story the Axe Trio, but also in a whole volume called The Black Axe (which is about Celanawe, the 10th wielder of the weapon).

I drew Farrer (based on Gabe's designs of the character) the axe's smith bestowing it on Bardrick while that moment in encircled in a a medieval halo design. The background is also the Adana Tapestry (something like our world's Bayeux tapestry showing the story of the Axe) that leads to the point Bardrick kneels upon––where he receives the axe. This was all done on various sheets of copy paper, scanned and assembled in Photoshop with some blocked in color shapes.

With the above layout in a state that I liked, I printed it out on copy paper (two sheets of legal paper trimmed and taped together after printing to fit the whole image) and taped to the back of a sheet of 13" x 13" Strathmore bristol (art size is 12" x 12").

I inked the piece on my Huion lightpad where I can see through the surface of the bristol down to the printout to use as a guide while I inked. I used Copic Multiliner SP pens (the 0.7 nib mostly)

Lots of texture in this piece, and in black and while it's a little too busy, but I know I'm going to add color to al lot of that linework to add clarity.

The inks were then scanned in and I started the coloring process. The first step is called flatting, basically a color-in-the-lines for professionals with flat base colors (no shading or textures.)

The colors of the characters and the tapestry were already known from coloring the issue and the Black Axe volume, but it still took a lot of careful tweaking to get the saturations and values all right.

Here I also established color holds (areas where I want the lineart to be a color other than black) on the tapestry embroidery, and a few different hols on the halo.

To render the color I used Photoshop's dodge and burn tools with a textured brush to get the highlights, shadows and textures.

Below is the solicitation info for the first issue that will be in shops March 19th, 2025:

CODE: JAN250017 (Petersen cover)

(W) David Petersen (A) Gabriel Rodriguez

The origins of the legendary Black Axe are revealed for the very first time!In celebration of its 20th Anniversary, experience the earliest tale in Mouse Guard history...

Adventure with the ancient weapon's first mouse wielder and champion, Bardrick, as he sets off on an epic quest in the newest installment of the Harvey Award-winning series by Mouse Guard creator David Petersen and Eisner-nominated artist Gabriel Rodriguez (Locke & Key)!

Dawn of the Black Axe #1 Rodriguez Cover

Announced a few weeks ago Dawn of the Black Axe is a 3 issue mini series written and colored by me and illustrated by Gabriel Rodriguez (Locke & Key) about the first wielder of the Black Axe! 

It's up for preorder now in local and online comic shops (JAN250016 for the Gabe cover) And I wanted to use this post to share a deeper dive into the cover art for cover A (I also have a variant cover and there will be at least one other guest artist for each issue)

Gabe agreed to do the project, but really wanted me to be the colorist. It's been the hardest coloring work I've ever done...

The cover art was created after the first issue was already drawn. I co-ordinated with Gabe letting him know what scene/visual I thought he should focus on and also what I was going to do for my cover (that way if he wanted to do something beyond my suggestion, he knew what I was doing to avoid overlap).

This series really leans into snake battles (if you know the Black Axe lore from the illuminated pages in Fall you understand) and I asked for the big confrontation for this issue. Gabe sent over pencils, and then this amazingly clean and detailed inked art. 

While the interior pages were all drawn & inked, I had yet to finish the colors on the issue––importantly, I hadn't yet colored this scene, so the cover is were some of the color choices were made. Bardrick (first wielder of the Black Axe) had a color scheme and so did the snake (Gammeltann) and the elk, but what colors the backround were and how that may alter the hue and saturation of my established character base colors was something I figured out with the cover first.

This flat color stage is where all the color shapes are established, a coloring-in-the-lines for pros. I also established the color holds, which is where I want the lineart to be a color other than black. In this case I made color holds for the elk, the snake's eye, and the puffs of dust.

Rendering (adding shadows, highlights, & textures) has proven to take much longer for me on Gabe's inks than on my own. I think part of that is the realism of forms in Gabe's work requires a different style of lighting. He also tends to have a lot more degrees of depth in a panel, where I almost always break forms into 2 or 3 planes.

To render the color I used a bit of a painbrush tool (something I don't often do on my own work) to get some color transitions, then Photoshop's dodge and burn tools with a textured brush.

Below is the solicitation info for the first issue that will be in shops March 19th, 2025:

CODE: JAN250016
(W) David Petersen (A/CA) Gabriel Rodriguez

The origins of the legendary Black Axe are revealed for the very first time!In celebration of its 20th Anniversary, experience the earliest tale in Mouse Guard history...
Adventure with the ancient weapon's first mouse wielder and champion, Bardrick, as he sets off on an epic quest in the newest installment of the Harvey Award-winning series by Mouse Guard creator David Petersen and Eisner-nominated artist Gabriel Rodriguez (Locke & Key)!

Usagi Yojimbo: Ice & Snow #5 Cover

For the Ice & Snow Usagi Yojimbo series now being published at Dark Horse I was asked by Stan Sakai to contribute two covers. To the left you can see my final cover art for issue #5.

This cover was new territory for me. In the past my Usagi covers have either been for classic reprints where the entire arc was finished and ready to read, or the Usagi/TMNT crossovers where I completed once piece to sum up the entire series based on some amount of completed material. But, for Ice & Snow, we were working far enough in advance that I didn't have any of Stan's pages for the issue, just an outline & description.

Below I'll go through the steps of creating the piece.

For Issue 5, all I was told for a long while was that it was a stand alone issue. Then Stan gave me an outline of the plot that involved a mountain town over-run by scary cats.

So, I started drawing characters on copy paper. I certainly pulled from my experience drawing the Cats Trio characters. Usagi and Yukichi were easier to draw (as they were meant to be more straight, no action, just calm reaction. The setting was based on a 3D model I found online and rotated to the right angle for the figures.

I scanned in the drawings of everything, assembled them and did quick color blocking to get approval.

When the above was approved, I printed out the layout/pencils and taped them to the back of a sheet of Strathmore 300 series bristol with some painter's tape. On my Huion lightpad I can see through the surface of the bristol to the layout and use it as a guide to ink from. I used Copic Multiliner SP pens (the 0.3 & 0.7 nibs) as I inked the piece.

The complicated amount of overlapping figures made my main goal when inking to vary the density of texture so that the forms could be read clearly from one another.

Stan & Co. approved the inks and I was able to scan them and begin the coloring process. That first step in coloring is known as 'flatting' which is a professional version of coloring-in-the-lines with flat color (no texture, no shading).

Some of the color choices were roughed in for the layout, but still needed to be adjusted for value, hue, and saturation to go with the more stark inks.

At this stage I also established the color holds (areas where I want the lineart to be a color other than black) for the snow, cat's eyes, clothing pattern, and Usagi's scar.

The last step to coloring (seen below) is the rendering. I used the dodge and burn tools along with a stock textured brush to add shadows and highlights. 

Usagi Yojimbo Ice & Snow #5 will be in stores Feb. 14th

Usagi Yojimbo: Ice & Snow #4 Cover

For the Ice & Snow Usagi Yojimbo series now being published at Dark Horse I was asked by Stan Sakai to contribute two covers. To the left you can see my final cover art for issue #4.

This cover was new territory for me. In the past my Usagi covers have either been for classic reprints where the entire arc was finished and ready to read, or the Usagi/TMNT crossovers where I completed once piece to sum up the entire series based on some amound of completed material. But, for Ice & Snow, we were working far enough in advance that I didn't have any of Stan's pages for the issue, just an outline & description.

Below I'll go through the steps of creating the piece.

I was given a PDF of inked pages from issues 1 & 2 showing Usagi and Yukichi in the snowy mountaintops of Northern Japan. And Stan let me know that the climax to issue 4 is a fight between Usagi and his old enemy Jei on a frozen lake.

I'd never drawn Jei professionally (only a commission for a fan), and I wanted to push in close on a duel between the two. I started drawing the characters separately on copy paper. To make sure they were both going to fit while fighting, I had to make use of the vertical nature of a cover and have Jei leaping/thrusting down with his weapon as Usagi takes a near miss over his shoulder. 

I scanned in the drawings of the two figures, digitally blocked in their forms with some color, and painted a simple background idea so I could send it off for approval.

When the pencils were approved, I printed out the layout/pencils and taped them to the back of a sheet of Strathmore 300 series bristol with some painter's tape. On my Huion lightpad I can see through the surface of the bristol to the layout and use it as a guide to ink from. I used Copic Multiliner SP pens (the 0.3 & 0.7 nibs) as I inked the piece.

I had to build up several different dark areas (Usagi's pants, Jei's clothes, and Jei's hair) and tried to give them all a slightly different density and in the case of Jei's hair a different line quality. I also left a gap between the characters and any of the ink lines for the background. This is partly to make the coloring easier, but also just to separate them and push an idea of distance before color is even added.

Stan & Co. approved the inks and I was able to scan them and begin the coloring process. That first step in coloring is known as 'flatting' which is a professional version of coloring-in-the-lines with flat color (no texture, no shading).

Some of the color choices were roughed in for the layout, but still needed to be adjusted for value, hue, and saturation to go with the more stark inks.

At this stage I also established the color holds (areas where I want the lineart to be a color other than black) for the ice cracks, trees, and Usagi's scar.

The last step to coloring (seen below) is the rendering. I used the dodge and burn tools along with a stock textured brush to add shadows and highlights. I then also painted in the falling snow on a new layer.

Usagi Yojimbo Ice & Snow #4
will be in stores January 10th, 2024!

Animal Pound Variant Cover

Tomorrow a new comic from BOOM! comes out called 'Animal Pound' by Tom King & Peter Gross. It's a re-imagining of Orwell's Animal Farm, but with a uniquely American frame of reference. 

I was asked to contribute a retailer exclusive variant cover for Cards, Comics, & Collectibles in Baltimore, which is the only location that will be selling it (though also through their online store I believe).

To the left you can see my finished cover artwork, but below I'll go through the steps to creating the artwork.

I started with lots of reference materials from BOOM! with series summaries, character descriptions and reference, & images of all the covers created so-far. The deadline for this was a quick one, and I had some travel that cut down the working time even shorter.

My focus for the art was a dog and a cat looking in opposite directions (A local vet has a sign that looks like this and it came to mind) with the shadows of the pound's bars like flag stripes across their bodies and a tally of voting behind them on the wall. 

I used some reference of a cat I found online and a photo of my sister's dog (RIP Angus) that had the perfect side eye...

Unfortunately I didn't check to make sure using a dog not featured in the reference packet from BOOM! so visually closely tied to the voting didn't work for the editors and I was asked to change the dog to the Doberman/Pit mix character from the series.

I had to find some reference of that breed and do my best to get the expression back in there. In some ways, I think the untrustworthy glance is better in this drawing than my original.

The voting and the scale of the dog icons to the cat icons does play into the story too. All of the drawings were done on copy paper, scanned into Photoshop, and then assembled together with some color blocking added to help explain light/dark forms.

When the second rough was approved, I was able to move on to inks. I printed the layout out onto copy paper (fir across two sheets and then taped together) and taped it with painters tape to the back of a sheet of Strathmore 300 series bristol. On my Huion lightpad I'm able to see the prinout and then ink on the clean bristol surface (needing no pencils erasing).

Getting the character's linework clean and with some nice lineweights was my main goal, and then to make sure as I hand inked each 'vote' they all had individual flaws. On the back of the bristol (not pictured) I drew and inked the lines for the bar shadows.

When the inks were done I scanned them into Photoshop and started the coloring process. My first step after cleaning up and level adjusting the scan was to establish all the color holds (areas where I want the inks to be a color other than black) on the votes, the grid, and the bricks as well as bring the bar shadow inks from the back around to the front and color hold them as well (along with an effect to make them semi transparent).

When all of that was done I could start flatting in the base colors for the wall, dog, and cat. Most of those color decisions were already made in my rough layout, but I did need to alter them a bit.

The last step was to do the final colors. I use the Dodge and Burn tools in Photoshop to add highlights and shadows to all the base colors, and I use a stock textured brush so it has some life to it.

Animal Pound #1 is out tomorrow in comic shops everywhere and my cover is available exclusively at Cards, Comics, & Collectibles in Baltimore.

Wild's End cover

Wilds End is back for a 4th series. From Dan Abnett & I.N.J. Culbard, publisged by BOOM! Studios is this anthropomorphic mix of Wind in the Willows & War of the Worlds.

I've been asked to provide a variant cover for Issue #3 of the series and in this blogpost I'll go through the steps to making the final art you see here.

If you'd like to go back and see a variant cover I did for Volume 1, I have a blogpost for that one too: http://davidpetersen.blogspot.com/2014/06/wilds-end-cover-process.html

Layout: I was given an outline of some early issues, some character concept art, and some editor suggestions for cover ideas. One of which I mis-read as 'All the characters shocked to be pulling in one of the aliens in their fishing net'––when in-fact it was more like 'one character, looking away not noticing the alien is trapped in the net'. Whoops. 

Well I drew these characters each separately on copy paper, and assembled them in Photoshop. I also had a 3D fishing boat model as reference, and I pasted in a drawing from the concept art of the alien 'lantern body'. I added some flat colors to help me see all the forms and plan for avoiding tangents and bad compositional overlaps, and I sent it off, apologizing to the editor for misreading the brief and hoping it would still be ok.

Inks: Turns out it was ok. The team liked the composition and felt that since this is a variant cover, I had more narrative leeway. I printed out the above layout and taped it to the back of a sheet of Strathmore 300 series 11" x 17" bristol.

On my Huion lightpad I was able to see through the surface of the bristol to use the printout as a guide to ink from. I used Copic Multiliner SP pens (the 0.7 & 0.3 nibs).

Most of the inking was straight forward, but I did consider inking the badger character's dark spots flat black, before opting to leave them open so I could show more fur texture and details around the muscles & eye.

Color Flats: When the inks were approved by the editorial team, I scanned them in and started the coloring process by painting in mostly flat colors. This process, known as 'flatting' is a professional version of coloring in the lines, but also helps set up the digital file to be able to later re-isolate areas to render them separately. 

Many of my color choices were already established in my layout, but they still needed subtle shifts in value, hue, and saturation until it all looked right against the inked lines rather than a pencil drawing collage. 

I added in color hold (areas where I want the ink work to be a color other than black) on the Badger's tattoos, the ship's lettering, the alien's tentacles, the cat's eyes, and the polkadot bandanna.

Final Colors: The last step was to render the color. I do this with Photoshop's Dodge (lighten) and Burn (Darken) tools and a stock textured brush (Dry Brush).

Around character's noses I also lassoed areas and tinted them a bit pinker/warmer as well as using a textured paint brush to add some rust coloration to the ship's hull.

Wild's End Vol. 4 Issue #3 is available for your comic shop tomorrow August 16th