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Description
From issue #1 of IRON MAN: HYPERVELOCITY, the ongoing miniseries I wrote and laid out for Marvel... Issue #3 on sale next Wednesday (2/7/07), BTW, featuring much, much sweeter full-color artwork by Brian Denham and Guru eFX!

Anyway, here's the first of a small selection of my layout pages from the book. Medium: Sharpies (fine and extra fine) and 3B pencils on trimmed-down (to comic-page proportions) OfficeMax legal-size paper. I had to run a fan beside my desk, to keep the Sharpie fumes down... Otherwise, I'd get splitting headaches and, worse, experience this odd, metallic taste of Sharpie on my palate all day.

A note to artists I might someday work with: I do NOT like to do layouts this tight, under normal circumstances... In fact, some of my best work as a writer involved minimal or nonexistent layouts, as with my collaborations with (off the top of my head) Lee Bermejo, Kaare Andrews and Rick Mays on GEN13.

HYPERVELOCITY just happened to be a very, very technical book, requiring a lotta techy work ahead of time, as well as very specific things I needed to see in the action sequences... Also, I had no idea who the miniseries' artist would be, as Brian didn't come on board until I was writing issue #3 (if I recall correctly).

Description
From issue #1 of IRON MAN: HYPERVELOCITY, the ongoing miniseries I wrote and laid out for Marvel... Issue #3 on sale next Wednesday (2/7/07), BTW, featuring much, much sweeter full-color artwork by Brian Denham and Guru eFX!

Anyway, here's the first of a small selection of my layout pages from the book. Medium: Sharpies (fine and extra fine) and 3B pencils on trimmed-down (to comic-page proportions) OfficeMax legal-size paper. I had to run a fan beside my desk, to keep the Sharpie fumes down... Otherwise, I'd get splitting headaches and, worse, experience this odd, metallic taste of Sharpie on my palate all day.

A note to artists I might someday work with: I do NOT like to do layouts this tight, under normal circumstances... In fact, some of my best work as a writer involved minimal or nonexistent layouts, as with my collaborations with (off the top of my head) Lee Bermejo, Kaare Andrews and Rick Mays on GEN13.

HYPERVELOCITY just happened to be a very, very technical book, requiring a lotta techy work ahead of time, as well as very specific things I needed to see in the action sequences... Also, I had no idea who the miniseries' artist would be, as Brian didn't come on board until I was writing issue #3 (if I recall correctly).