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Description
My digital ink over the Late and Great John Buscema. Original here www.comicartfans.com/GalleryPi…

Help! I can't stop. Found this "Buscema does Frazetta" type piece by John Buscema and just had to ink it over. It's penciled and inked by John Buscema. More detailed and varied in texture than what I expect of his work, but not as much as Frazetta. The rendering is just what's necessary to make a sober, if aesthetically pleasing, statement - no unnecessary, or self-indulgent riffing to revel in the intoxicating feel the brush strokes. LOL. And it's neat, but not overly tight. In fact, I'd call it loose, since the manner of rendering suggests details without actually drawing them in. The details are suggested with patterns.

Didn't take long, did it? Maybe because I feel an affinity for Buscema's rendering technique. It's direct and well organized, so easy to predict. What it comes down to is thinking clearly to begin with so that the method and expression follow suit.

This shows one pass, which is the limit of my patience and interest. Sure, it would be good to go through it two or more times dicking over this and that to balance tones, heavy up the spots and tinker with line weight and, god forbid, details. But is that really going to improve my drawing? Or just make me a better copycat? (Well probably both. ) But I'm not doing this to forge Buscemas or to become an real inker. I'm doing it to get the mind set of a master so that I can incline my natural tendencies in his direction. The payoff comes when I render my own pencils and they look GOOD. So, little by little. This is, after all, an exercise, not an end in itself.

BTW- on that first pass I couldn't restrain the impulse to make a teensy-weensy change of which Big John would surely approve, in principle. I offset the shadow on the girl's neck because it formed a tangent with the jaw that flattened out space. It's no big thing and just goes to show that some habits (critical observation) should NEVER go away, because no one is above correction. No one.

Description
My digital ink over the Late and Great John Buscema. Original here www.comicartfans.com/GalleryPi…

Help! I can't stop. Found this "Buscema does Frazetta" type piece by John Buscema and just had to ink it over. It's penciled and inked by John Buscema. More detailed and varied in texture than what I expect of his work, but not as much as Frazetta. The rendering is just what's necessary to make a sober, if aesthetically pleasing, statement - no unnecessary, or self-indulgent riffing to revel in the intoxicating feel the brush strokes. LOL. And it's neat, but not overly tight. In fact, I'd call it loose, since the manner of rendering suggests details without actually drawing them in. The details are suggested with patterns.

Didn't take long, did it? Maybe because I feel an affinity for Buscema's rendering technique. It's direct and well organized, so easy to predict. What it comes down to is thinking clearly to begin with so that the method and expression follow suit.

This shows one pass, which is the limit of my patience and interest. Sure, it would be good to go through it two or more times dicking over this and that to balance tones, heavy up the spots and tinker with line weight and, god forbid, details. But is that really going to improve my drawing? Or just make me a better copycat? (Well probably both. ) But I'm not doing this to forge Buscemas or to become an real inker. I'm doing it to get the mind set of a master so that I can incline my natural tendencies in his direction. The payoff comes when I render my own pencils and they look GOOD. So, little by little. This is, after all, an exercise, not an end in itself.

BTW- on that first pass I couldn't restrain the impulse to make a teensy-weensy change of which Big John would surely approve, in principle. I offset the shadow on the girl's neck because it formed a tangent with the jaw that flattened out space. It's no big thing and just goes to show that some habits (critical observation) should NEVER go away, because no one is above correction. No one.