BATMAN: BLACK & WHITE #5, PAGE 1. 2013.

Ink(ed by Joe Rivera) on bristol board, 11 × 17″.

inks by my Dad, Joe Rivera









blue-line print of pencils





The pencils are drawn on 11 × 17″ bristol board over a print of my digital sketch. The Xs indicate where I want solid black, whereas a squiggly line crossing another line (like on the Batmobile's hood) indicates a softer, dry-brush effect. Everything else is pretty much what-you-see-is-what-you-get.









pencils over digital sketch





Even the simplest panels can benefit from perspective guidelines, and so I use them whenever I can. These are done in Photoshop using Smart Objects and various patterns that I made myself. In the top panel, the right vanishing point is on the horizon, but the left one is set below to suggest a slight incline to the road. (I've been promising for years to release this template to the world, but it's still a ways off. I recently sent it to friends for beta testing, but most had a tough time with it. An instructional video is the only way to learn how to use it and I haven't had the time to make one).









digital sketch with perspective grids superimposed





Down below, you can see where it all starts. I do all my layouts digitally now — have been since I got my first Cintiq — and I don't think I'll ever go back. This was done in Photoshop with each panel on its own layer, plus a grayscale layer on top of everything (and set to Multiply, same as I would for color). I just copy and paste Ivan's script into the file and move things around as I see fit.





Half the job is graphic design — making sure that each caption or balloon is read in the correct order and has the appropriate impact. Often there are several pieces of text in one panel, but some are meant to be read more quickly and/or separately. For instance, if you want the reader to see the artwork before reading a certain line, be sure to put it in the bottom right corner.



While I'm not the one who ultimately letters the piece, it's still my job as the penciler to leave an appropriate amount of space. I always share these sketches with the letterer just in case my intentions are not immediately apparent.









digital sketch











Batman Study. 2013. Ink on bristol board, 11 × 17″.

All that being said... it's just plain fun drawing Batman. It was a dream of mine since I was a little kid, so I've had nearly 30 years to think of what my take on the Dark Knight would be. He doesn't wear a cape — it's a parachute. Those aren't undies outside of his pants — it's a harness. His Batmobile is built like a low-slung race car, but with a hydraulic lifts for off-roading.



Basically, I got to nerd out for 8 pages. I hope others can too. For a look at another page from the story (as well as some Wacky Reference Wednesday action) check out this Things like that may seem like common sense, but it can be easy to forget while balancing so many variables. The other half of the job is just keeping things logical and consistent. Are Batman's bandages in the right place? Would we be able to see Gotham City from Wayne Manor? Did he grab his cape with the right hand (I made this mistake on page 3 and had to redraw a couple arms).All that being said... it's just plain fun drawing Batman. It was a dream of mine since I was a little kid, so I've had nearly 30 years to think of what my take on the Dark Knight would be. He doesn't wear a cape — it's a parachute. Those aren't undies outside of his pants — it's a harness. His Batmobile is built like a low-slung race car, but with a hydraulic lifts for off-roading.Basically, I got to nerd out for 8 pages. I hope others can too. For a look at another page from the story (as well as some Wacky Reference Wednesday action) check out this previous post

Labels: Paolo Rivera