Once the final image was chosen, I used photoshop to create a cleaner version of the sketch.  Because of my tight deadline, I decided to do the entire cover digitally, as opposed to using the traditional method of penciling.

Next, I put the flats on the image to give definition to the characters.

 Once the flats were finished, I layed down a quick composition for the background.  At this point, I already knew my light sources: global lighting and back light, and attempted to create a sunset background.  With multiplying mode I start adding shadows to the characters.

I started adding light with a regular hard-edge brush with 75% opacity and 25% flow and adding a regular layer on top of my shadows.

Once I had a general idea of my lights and shadows, I compressed the file separating the characters on one layer and the background on another.  I began focusing on just the characters.  I used a hard brush over the entire character image, polishing their features and removing all pencil traces.  Then, I began to polish the background elements, adding some texture as well. 

For my final image, I finished polishing the edges and added a few details, such as the illumination and glow of the suit and web.  After finishing, I sent the cover to the editors, who decided they prefered Spiderman's mask on, in order to maintain mystery in the character. 



The editors at Marvel Comics requested that the next cover of Ultimate Spiderman be Spiderman fighting Prowler.  Using just photoshop, I started with these two sketches, focusing solely on the composition without going into details.  The editors chose the close-up because it added more drama to the scene.

X-MEN 28

Free Time!

X-MEN 25 Preview

Here is a little sneak peek at X-MEN 25 writing by Victor Gischler, illustrated by me.
Coming out this February, make sure to check it out!

X-MEN 27 Process

These are the two composition sketches I did for the marvel editors, the concept I was given was to the depict the X-MEN surrounded by assassins. The image on the right was the first concept I nailed but the second one was the best choice since it's a much tightened shot and has more sense of danger.

Both of these images where done in a Photoshop CS5 with the Cintiq, I feel very comfortable doing the initial sketches since its easier to edit when needed.

At these point I keep polishing the sketch till I get to the level of detail that I want, I already know that I don't want any shadows in the image, all I want is to play around with line work and leave all the shading to the colors. Again, all these is done with the Cintiq and I really don't put any attention to the line quality of my work, all I look for is to have the composition and the details I need to polish the image on the next step.

Then I print out the image above and trace it with the light table using H pencils and 11 x 17 bristol board, then I ink the pencils using Staedtler stylographs and a couple of brushes. All I focus in this stage is to have smooth lines and a good linework.

Then I scan the image back to the computer at 300 dpi on grayscale and use the levels on the Photoshop to clean the image.

Once the levels are fixed I add a multiply layer to start laying the flats, this is the most boring part of the coloring process but is the most important since its the foundation of the image, I use a regular hard edge brush with 100% opacity and flow to cover all the areas. I tend to flat my character a one layer and my background elements on another for easer editing in the future.

Then I do a selection of the flats holding the ctrl button and clicking on the layer, this will select the entire layer so I can add another multiply layer and add a shadow tone for all my characters, this time I went for a green-gray shadow tone.

I didn't want to use a lot of contrast on my characters so I added 2 layer of shadows on multiply but lowering the opacity those ayers to have subtle shadows.
this process I do it with a customized brush that has a bit of texture with 70 opacity and 25 flow.

Then I start using lights just by adding layers on top on regular mode, since I wanted smooth transitions I didn't do a lot of mixing on light tones, I pretty much staid on the same tone values just by picking lighter colors and lowering my opacity on the layers.
Since I have two lights sources, one coming for the window an the other one for inside of the complex, I add a hard edge light on the back of my characters, this is a very helpfully lights since it makes the main characters pop, the second light is more subtle and helps to give volume to the characters.

Once I go trough all my lighting steps, usually using 3 layers of light, I merge all my colors leaving linework separated, this way I can polish the colors without disturbing the lines, at this point I already have my color plate so it's all about adding details and polishing the image. After polishing all the details I star adding effects like glows and glares by using layers on lighten mode and overlay also using textures on a overlay mode with very low opacity on the layer.

Once y merge all the layers I do a color correction with the ctrl+u untill I get a color balance i'm satisfied with.

For previews on the following X-MEN titles follow me on:
Twitter @jorge_molinam
Facebook Fan Page http://www.facebook.com/pages/Jorge-Molina/170336213026821
Tumblr: http://www.tumblr.com/blog/jorgemolinam

X-MEN 27

Here is the final cover for X-MEN 27.
For a tutorial process of the cover follow me on:
Twitter @jorge_molinam
Facebook Fan Page http://www.facebook.com/pages/Jorge-Molina/170336213026821
Tumblr: http://www.tumblr.com/blog/jorgemolinam

X-MEN 27 Inks

Here are the inks for the X-MEN 27 Cover.
For a tutorial process of the cover follow me on:
Twitter @jorge_molinam
Facebook Fan Page http://www.facebook.com/pages/Jorge-Molina/170336213026821
Tumblr: http://www.tumblr.com/blog/jorgemolinam

Mark Morales Thor inks

Here is a collab Mark Morales and I did from one of avengers initiative pages. I was very excited when mark decided to ink this piece since I'm a big fan of his work, I consider mark to be the best inker in the industry right now hopefully will be able to do some work together in the near future.