1. In celebration of New Who, my first attempt at the Doctors

    In celebration of New Who, my first attempt at the Doctors

  2. Just-finished Torchwood commission (I worked on the comic a few years back)

    Just-finished Torchwood commission (I worked on the comic a few years back)

  3. Traditional inkwash for the Jennifer Wilde #1 variant cover. I ended up redrawing Jennifer’s face, and touching up Oscar’s, digitally for the final cover. 

    Traditional inkwash for the Jennifer Wilde #1 variant cover. I ended up redrawing Jennifer’s face, and touching up Oscar’s, digitally for the final cover. 

  4. Concept sketch and rough for Jennifer Wilde #1 2nd Print variant

  5. Finally gave in and signed up for Instragram. On the drawing board today. (Taken with Instagram)

    Finally gave in and signed up for Instragram. On the drawing board today. (Taken with Instagram)

  6. Final image. I do a lot of work here adding details, colour adjustments, graphic design and generally making the image work as a whole. The foreground barbed wire was a last minute addition which really added to the image, and I was able to use it to enhance the ‘environment speed lines’ effect.
You can pick up the comic in a few comic stores around the UK, or order it direct from Atomic Diner:  http://www.atomicdiner.com/products/view/?id=27

    Final image. I do a lot of work here adding details, colour adjustments, graphic design and generally making the image work as a whole. The foreground barbed wire was a last minute addition which really added to the image, and I was able to use it to enhance the ‘environment speed lines’ effect.

    You can pick up the comic in a few comic stores around the UK, or order it direct from Atomic Diner:  http://www.atomicdiner.com/products/view/?id=27

  7. Paint in the figures and start converging the colour scheme using adjustment layers (I probably had an layer with the black logo bar turned visible, which is why you can see a colour difference cutting across the bottom environment). 

    Paint in the figures and start converging the colour scheme using adjustment layers (I probably had an layer with the black logo bar turned visible, which is why you can see a colour difference cutting across the bottom environment). 

  8. I work with textures, PS brushes, shapes and linework to start detailing the backdrop and lower scene.

    I work with textures, PS brushes, shapes and linework to start detailing the backdrop and lower scene.

  9. I draw in a temporary figure and work out where everything will go on the properly proportioned canvas. 
I’m using the shape of both environments to act as natural ‘speed lines’, so it looks like most of the action bursts subtly from the Black Scorpion figure. I draw in a guide for this that you can see as straight blue lines and use them to roughly lay out the cards, chip and the general figure. 

    I draw in a temporary figure and work out where everything will go on the properly proportioned canvas. 

    I’m using the shape of both environments to act as natural ‘speed lines’, so it looks like most of the action bursts subtly from the Black Scorpion figure. I draw in a guide for this that you can see as straight blue lines and use them to roughly lay out the cards, chip and the general figure. 

  10. Black Scorpion launches at the MCM London this weekend, so I thought I’d resurrect Downey Doodles to show my process digitally painting the cover. 

I start with a thumbnail doodle as usual. This was the first cover I’ve made entirely digital every step of the way, so these are photoshop brush lines. 

    Black Scorpion launches at the MCM London this weekend, so I thought I’d resurrect Downey Doodles to show my process digitally painting the cover. 

    I start with a thumbnail doodle as usual. This was the first cover I’ve made entirely digital every step of the way, so these are photoshop brush lines.