Just throwing up some recent images of the pencil layouts for "Dark Detective: Sherlock Holmes #8" Not only did I do the back up story for this (with Chris Sequeira), I also provided some layouts for the main writer/artists team story to get the book in on time. This was interesting from my point of view of not only working the opposite way to my back up story (virtually "Marvel Method", by which Chris and I discussed plot, I went away and created art, then lettered it based on Chris's dialoguing of my pages)- In the main story, I was working off a full script (written by Chris), which was one change to the method, plus the fact that in regards to the art, my job on a page was finished, only to go as far as the blocking out/pose/gestural level.
The interesting part is seeing how the main artist (in this case, the gentleman, Phil Cornell) chooses to use the panel/pages in the final printed version, or whether he chose to not use a page/panel at all/altered it (in the case of a few pages; This is by no means a problem at all, in this instance, I am merely assisting the artist in nailing the deadline by eliminating the first step in the visualizing of the script. One artist may see the scene in a different manner as to how other sees it, that what makes the collaborative process interesting in this case. It was a fun and noteworthy experience in the departmentalized approach to comic creating.
I don't have digital pages of the final product to show before and afters, but those who happen to pick up a copy at the current Supanovas running, off blackboox, or from Newsagents soon, will be able to get a "behind the curtain" view of the collaboration process. (Incidently, it was a very cool script, and I look forward to reading the conclusion to this current story arc ;D)
Enjoy :D
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