Marvel Sequentials.

[DanielPicci]

Hey guys!

Been a long time. Glad to see this community is still thriving.
I took some time off posting as I was just focusing on getting better, and trying to get work with a major company which I’m still working my backside off for.

Also pitched a few original ideas with some great writers but none have landed as yet.

I did meet some great people at NYCC last year though, and even got to show these to Marvel. Still, the work doesn’t stop.

What have you guys been up to? Will try hang out here more often now..

Hope your like!

[Scribbly]

Your artwork is looking very, very good.

[Orlan29]

Nice to see your work again! and showing more work to Marvel hopefully you get picked

Orlando Baez

[Orlan29]

I recently worked on a short for the Puerto Rican victims project, Puerto Rico Strong published by Lion forge studios 2018. I drew an anthology sequentials of six pages with writer Gene Selassie and it came out on March 18th here's a link of SyFy.com what even cool our first page of the sequential project was in heading

http://www.syfy.com/syfywire/comics-...rricane-relief

https://www.washingtonpost.com/news/...=.1b2e189a31df

And working on new stuff for pitch and etc and heading this year to thecomic-con in New York 2018 Oct 4-7th.

[Bishop]

That's some good stuff! I just wonder where the rest of the Avengers came from in that last panel...?

[DanielPicci]

Scribbly; thanks man! Hope you’ve been well

Orland29; thanks Orlando. That’s great work for a noble cause too. Congrats!

Bishop; cheers. They came from the quintet of course

[MattTriano]

These are good! Tight perspective, figures, compositions. Well done.

Remove the blue pencils if these are to be final samples, it's no benefit to an editor as is.

Some of the forms are conflated or flattened, as in woman's shocked face in 1.3, back of Cap's head hatching in 2.1 and shadows under cars way over-hatched in 3.5, same on Cap's boot in 4. Hulk torso a little short in 4 as well. Nitpicks: Widow's eyes are maybe too far apart and Thor also seems like a bit of an afterthought, could be stood behind Cap raising hammer, bigger figure.

I would do a little less stylization on the bursts of debris in 2.4 and 3.5, where a slightly more naturalistic approach would more consistently fit with the mostly representational world you've crafted. Consistency in degree of abstraction is important. Do a bit more research on it, get ref on the physics of damage and debris, take screencaps of Youtube slow-mo/destruction videos etc.

Keep going! Good luck! Do another sample, maybe just a variation on this, and post soon?

Best,
M

[well-bee]

Looks great

[Afro]

I really like the art on this one! I'm with bishop if I was drawing this to submit to editors...take the avengers out. You don't want an editor asking any questions or getting taken out of story. If you were just doing it for fun then my bad.
Second page with ultron is my favorite really like the camera angle and use of backgrounds.

The only thing I didn't get is the big hunk of blank space on page 3 by ultron close up. If you are using the space for lettering I would say just expand that panel or if you are going to show people watching the fight from the street. I don't know that blank space throws me off some.

But overall I think you can tell you put a lot of time and work into these pages.

[DanielPicci]

MattTriano - Thanks for the feedback man!

Well-bee - Thanks!

Afro - thanks for the comments!

[andrew-henry]

how you didn't get a job yet at marvel ???

[DanielPicci]

Andrew-Henry; thanks man, I’ve been trying

[sevans]

Do your own work, submit to Image, self publish
Fuck Marvel (Disney...we buy your childhood Inc.)

[PaulPennaWriter]

Do your own work, submit to Image, self publish
Fuck Marvel (Disney...we buy your childhood Inc.)

I'd love to work for Marvel one day too, but Sevans is right. Marvel are more likely to want to work with writers and artists that have already been published, anyway.

The best way to get them interested in you, is to be published elsewhere.

So, submit to Image. Failing that, submit to someone smaller. Keep going a bit smaller, until eventually, someone does publish you.

And you are talented, so a smaller publisher will want to work with you. All you need to do is pitch the right series/miniseries with the right writer (or on your own, if you're a writer-artist).

Then climb that ladder, getting published by better and better companies, build your reputation, until Marvel comes knocking on your door.

[Afro]

There's a lot to process as far as breaking into marvel is concerned though. When I was younger ,that was all a friend and I used to do. But over the years I learned that, there's more books than artists. You have to look at things from the editor side, and above all else. If you like to draw then just draw, because my friend wanted to break in so badly, that he quit. Because marvel was the only company he submitted to. I only submitted to them too, but after conventions, and letters and not to mention having an editor on one book could get you a completely different response than another. I just worked on my own stuff.
Just try to get as many people behind your work as possible. I don't know what story is in your mind to try but I would experiment with that. Definitely send your mainstream work out to other companies, they are all connected anyway.