30 cards done for the Deluxe Edition from IDW Limited.
5×7 COPIC marker on drawing paper.
Notes from Richard… “Yeah, like when given the option I’m NOT gonna draw the kaiju.
Among the Aztecs, whose beliefs are the best-documented in the historical sources, Quetzalcoatl was related to gods of the wind, of Venus, of the dawn, of merchants and of arts, crafts and knowledge. He was also the patron god of the Aztec priesthood, of learning and knowledge. Quetzalcoatl was one of several important gods in the Aztec pantheon, along with the gods Tlaloc, Tezcatlipoca and Huitzilopochtli. (Wikipedia)
I gave him horns because they appear in several carvings, and chose the (somewhat unorthodox) coloration based upon various painted depictions.
This art will be a Preview base card in the Classic Mythology II trading card set. The Preview cards are printed in a spot gloss with a matte background. Classic Mythology II Preview sets will be available for sale on February 3rd 2014.”
9×12 Copic marker piece on off-white drawing paper.
Richard’s notes: “Completed as a Christmas gift supplement. What was the rest of the person’s gift? Why, Rocket Raccoon and Groot! So the challenge here was to take pieces created months apart, and turn them into something wherein each piece stands ably alone AND works together when side-by-side.
I’ll go into the joint piece in a later upload of the two together, but this one is pretty straightforward in its way, triangles, and a lower-left to top-right composition, pushing your eyes up through the heroic pose of Nova. I’m kinda doing a reverse-Kirby Krackle with splattered Copics on the background.”
Oversized AP card from the Rittenhouse Archives’ Marvel Greatest Heroes set. Copic marker on Marvel trading card stock.
COPIC markers, india ink, and colored pencil on 11×14 vellum bristol board.
Richard’s notes… “The request was Spider-Man and Gwen’s ghost sharing ice cream on a bridge. From there I ran with it, and had a goodly amount of fun with the composition and with trying new things with the markers to get differing textures and (in the case of GwenGhost) transparency. It’s mostly a bunch of triangles, but you may also notice I’m using the moon and stars to direct the viewer to Gwen, and that the cloud formations are a mirroring and inversion of the bottom-half of the drawing for better balance. The commissioner wanted something romantic, but I also attempted to add a bit of melancholy. I think I’m slowly getting better at clouds.”
11×17 piece, and I used a whole slew of media on it — COPIC markers, acrylics, colored pencil, india ink, white ink, masking fluid, graphite, and probably a couple of other things I’m forgetting.
Richard’s notes… “Well,
– See more at: http://wednesdaysheroes.com/art/batman-on-a-gargoyle/#sthash.BI0Qw2yu.dpuf
9×12, COPIC marker on drawing paper.
Richard’s notes… “Just fun characters to do, and it was fun playing with the composition, with the large whote circles, and the more x-shaped composition elsewhere.”
COPIC marker and colored pencil piece on 11×14 vellum bristol board.
The Doctor is IN. Doctor Doom pinup by Richard Cox.
Copic markers and colored pencil on 9×12 off-white drawing paper.
Richard’s notes… “Carol Danvers, Captain Marvel. I tried a new technique on the simple BG, and I think it turned out pretty spiffy.”
Greyscale COPIC marker on 9×12 off-white drawing paper.
Richard’s notes… “This is a small Batman and Wonder Woman piece I drew one night at Heroes Con ’13 over dinner and drinks with some friends. I’ll have it available for sale at NC Comicon this November. “
Greyscale Copic markers (plus the colored lighty bits on his chest box) on 9×12 cream drawing paper.
Richard’s notes… “So yeah, Darth Vader. This is the only time I’ve drawn him since I was a kid, and what a challenge. It was awesome. Getting all of the details right, and the niches on the helmet was a blast. Same for the troopers. If you’re off on your representation, man it shows. I really wanted him to be basically a mass of black, but if you look, you may see where I tried to make it appear that he’s walking forward. If I had a main point of reference it’s an old poster I had as a kid with a red background. But as you can imagine I had to reference a LOT of photos and angles to get it right. I kinda combined a Death Star BG with Cloud City smoke, just to give some depth and variation in the background.”
Copic markers, acrylic paint, india ink (inkwash), colored pencil, and white ink on 11×14 vellum bristol board.
Richard’s notes… “Okay, before I even get started on the art I’m gonna talk Godzilla. Because I took a couple of artistic liberties, and being a Godzilla nut myself, I know someone will point it out to me. It’s the Mire-Goji design, a combination of the suit and much more aggressive maquette. Yes, I know Mire-Goji is green, with purple spines that glow orange. I changed it to the classic Godzilla color scheme because it worked better for the art.
The Gamera is a melding of the G2 and G3 versions.
So, the art.
I wanted something chaotic. So, for example, you’ll notice that there aren’t any flat, horizontal planes anywhere, except on one small fighter jet. Even Godzilla, who IS standing on a flat plane, looks off-kilter because of his stance and the angles all around him. That said, it takes a lot of thought and underlying ORDER to achieve this affect. On the surface, there are a lot of Vs and triangles that point towards Godzilla, leading your eye to him, and down all of that smoke and ruin. He’s also encased in a skewed rectangle of smoke, and the explosions form the lower half of a circle around him. So you know he’s the focus. I pushed Gamera to the blue-green because with all of the reds on the board it helps him pop out amidst all of the blues in the sky. And because I have an awesome X-Plus G2 sitting beside me at my desk who’s that color. I also wanted it to be very much “in medias res”, so there’s a lot happening IN the shot if you look — movement, etc. I also know exactly what’s going to happen AFTER this, as if it’s a single panel in the middle of a 9-panel comic page.
I think most of the thought went into creating different textures such as the rubble, fire, skin, buildings, sky, etc. that forced me to think a lot, in a good way. That’s also a real street in Tokyo FWTW. I also drew a toilet on there. Good luck finding it, it’s to scale.
A lot more went into the piece, but I don’t want to be boring so please ask if you’ve any questions. It was a LOT of fun to work on.”