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Stephen King's The Dark Tower: The Gunslinger Born #3, Pages 1 to 5 Pencils: Jae Lee.

"The Gunslinger Born" was a direct adaptation of the "The Dark Tower IV: Wizard and Glass" book. It told of young Roland's first mission and of his first love, Susan Delgado. Issues 3, 4 and 5 opened with vignettes depicting their burgeoning relationship. I've rarely had the chance to work on purely romantic scenes, I thought Jae's refined artwork especially shined there. Beautiful stuff, really inspiring.

In these pages, deep in the forest, Susan just ran into Roland who offers to accompany her back to the village. On the way, they exchange playful banter and flirtation.

And here’s the process for The Dark Tower : the Gunslinger Born #1, pages 3 and 4 (Pencils by Jae Lee).

Here’s the process for The Dark Tower : the Gunslinger Born #3, pages 6 and 7 (Pencils by Jae Lee).

Here's a deconstruction of the process I did for the backup features of The Dark Tower : the Gunslinger Born #3 (Pencils by Jae Lee) -Pencils -Background -Fill in the blacks -Fill the shapes with the darkest color of the background -Add colors and highlights -add hints colors to the blacks to blend background and foreground.

Stephen King’sThe Dark Tower: The Gunslinger Born #1 Pencils: Jae Lee Alternate Pencils: Joe Quesada

10 years ago, I started an 8 years run on Stephen King's the Dark Tower. A few days ago they announced that, in the film version, the role of Roland will be played by the great Idris Elba. He definitely has the right presence, can't wait to see what they do with this new incarnation.

Having known the excitement of diving headfirst and immersing myself into mid-world and its mythology, I can tell you everyone involved in this project is in for a trip. It's a fantastic universe and I'm glad it's going to be discovered by an even wider audience.

Wolverine #36 Pencils by Joe Quesada.

That piece is in parallel to the Wolverine "Origin#1 cover. The question was whether the opposite of a monochromatic orange/sepia was full color or monochromatic in complementary Blue. I really liked the color version, but editorial finally decided that the Blue version was a more direct answer. Here is the unpublished version.

Wolverine: Origins #29. Pencils by Mike Deodato Another Deodato, Another Sunset. That's a technique I really like: thin painterly lines for the bright highlights. It really complements well the drawing, visually fuses together the line art and the colors. Dean V. White is better at it and has made it his trademark, but once in a while I try to make it work.

Ultimates Annual #2 (2006) Pencils by Mike Deodato.

Deathlock #3 (2014) Pencils by Mike Deodato

Poor Deathlok, 15 years later and still being relaunched. I still have the french edition of the first issue of Deathlock by Rich buckler from the 70s that I bought second hand as a kid.They translated his name to "Cyberman" (we can't pronouce "th"). I saw Buckler's name on the list of Artists at NYCC, I should bring it to get it signed.

I shared a table with Mike Deodato at the Angouleme Comics Festival in January. We've worked together several times through the years, but it was the first time I met the talented and super-nice Brazilian. We live such insular lives, the main occasion we have to meet our co-workers is at conventions. I've never seen most of my editors. I've had the same assistant for 12 years and we have never even talked on the phone, let alone face to face. A good old fashion epistolary relationship.

Deathlock#1 (1999) Pencils Joe Quesada, inks by Jae Lee

No real story here, just a rarity, with Joe and Jae, two of of my main long time peeps.

"Just Imagine..Stan Lee's Batman" (2001) Pencils by Joe Kubert. I'd been working consistently with Adam Kubert for over 2 years on 3 different X-men series, when his father, the legendary Joe Kubert, illustrated this One-shot written by Stan The Man himself. He had seen my color work over his son's pencils and asked if I would do his cover. It's one thing to get to work on someone you admire, it's something else to have Joe Kubert personally ask for you. After I'd changed my underwear, I went to work.

He had already embraced the possibilities of the digital medium. He sent me a giant head sketch on Sepia paper, a layout where he had only inked the main character, a photo ref of nighttime LA and told me to go for it. I was hoping for a classical straightforward piece so I could show off, but instead there I was, agonizing over the transparency levels of layers. As it often happens when I overthink things, the result was just OK, but it's still one of the highlights of my professional life.

I thought I'd lost the file a long time ago, but I just found it on an old CD backup.

Iron man #30 pencils by Joe Quesada, Inks by Tim Townsend. (2000) 15 years ago (!), just before he became Editor In Chief, Joe Q did a series of covers for Iron Man. Of the bunch, I always thought this one stood out for its very Frazetta vibe. Computer coloring was only 6 or 7 years old at the time and had slowly become the standard, but the printing guidelines at Marvel hadn't caught up yet. As a result, all the special effects around that time took forever and looked lame. It all got cleared up with the new regime. I had to give that one a quick face-lift before I could show it in public.

#Joe Quesada #tim townsend

Ultimate Iron man #1 Alternate cover. Pencils Bryan Hitch.(2004)

One of the rare occasions I've had to work with the great Bryan Hitch -who, BTW, also happens to be an extraordinary autodidact piano player .

I first did the Blue version since it was the color of the energy used in the book, but the result didn't really scream "Iron Man", so they had me switch it to a Red light with Yellow at its core to better evoke the colors of the armor. Good think it was a "Digital" painting, but Red is actually the hardest color to change into. Where the other colors can be highlighted with lighter values of themselves, Red has to go towards a light Yellow or it would turn to pink. That meant switching the hue from blue to red, covering up all the highlights with a medium red then repainting them with bright yellow.

Ultimate Iron man #1, Pencilled by Andy Kubert. That project was my third with Andy after "Origin" and "1602". It was writtten by Orson Scott Card. I was very excited to work with him:"Ender's Game" and "Ender's Shadow" are exceptional books, even though their sequels go downhill pretty fast.

We were just finishing the first issue when he decided to publish a few columns online that revealed him to be a giant douche bag.That definitely put a damper on my enthusiasm. I was so disheartened that I even thought of dropping out but I liked working with Andy and the story was pretty good. So, I stuck to my commitment and tried to make it look as good as I could. I'm still ambivalent about it, but I find that I subconsciously have a tendency to forget that I even worked on it.

Invincible Iron Man#1 cover pencilled by Joe Quesada and inked by Danny Miki.

Last minute alternate cover for an iron man relaunch in 2008, I remember that I got it around 10 in the morning and had to finish it by 2PM. That's sometimes how you end up doing your best work, with a deadline so tight you don't have the time to think about anything else, you just get in the zone.That's also a good time to use a lot of special effects to hide the areas you didn't have time to work on.

The Invincible Iron Man : DVD cover for the Animated Movie (2007) Digitally Painted over Joe Quesada's Pencils.

Poster for New York Comic con 2008, Pencils by Joe Quesada. Joe once made fun of my tendency to always use purple (not my fault if it complements flames, explosions and skin tones) So on the next piece we did together, (this one) I decided to go full on purple and pink sunset. Just to show him who's the boss.

I also love working with Danny Miki. Apart from being a great guy and the most creative speller, the way he inks Iron Man's armor is just amazing.

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