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January 17, 2007
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GEORDI LaFORGE Inks by Jerome-K-Moore GEORDI LaFORGE Inks by Jerome-K-Moore
Comic Book Cover, DC COMICS, STAR TREK: THE NEXT GENERATION.

On this cover illustration, I collaborated with my friend, artist Jason Palmer. He penciled Geordi LaForge's portrait, and that of the alien boy. Jason composed the images simply, and magnificently, showcasing the boy, but still allowing Geordi prominence. I then inked over the pencil image, adding scaly skin to the boy's face, tonal shadows and textures with china marker, and white opaque gouache effects. The spatter was achieved with an old toothbrush.
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:iconkaizokushojo:
KaizokuShojo Featured By Owner Jul 8, 2011   Traditional Artist
Nice work. :thumbsup: Your inking is very clean.
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:iconcankeredrose:
CankeredRose Featured By Owner Jul 26, 2009
This is the most bad ass Geordi has ever looked.
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:iconsuspicious-character:
I like this quite a bit. I think I might actually have this issue somewhere in the depths of my cave I call a closet. Geordi's the man! Do you actually like Star Trek or is this just a job for you? I'm just wondering because I know a lot of people that produce pieces of art that are just not into the content. I don't mind either way, it's just nice to know that the person who did the work also likes what they see as well.
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:iconjerome-k-moore:
Jerome-K-Moore Featured By Owner Feb 14, 2009  Professional Filmographer
I was fortunate enough for it to have been both. I always loved Star Trek as a kid, and being allowed to illustrate the characters professionally was a dream come true. It's my opinion that projects most often benefit from the participation of those creators who best admire and understand them-- not so "fanboy" close so as to lose perspective, and not so detached so as to harbor disdain or boredom for the property.
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:iconsuspicious-character:
So, how do you become a cover artist for a comic book? Any tips for me? I have always wanted to work in the industry. I really am more of a writer, however. Either way, what should be my first steps to making something happen? I was thinking I might just send some of my originals out to some company's and see who bites. Do you have a better suggestion?
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:iconjerome-k-moore:
Jerome-K-Moore Featured By Owner Feb 15, 2009  Professional Filmographer
All righty, then...

There really is no set formula, no marked path to tread. Circumstances vary, and they may vary even more now that the industry has changed so much since I broke in long ago. There was no internet when I was a hungry young kid looking for comics work, schlepping my portfolio to conventions and mailing samples to editors. Today, an artist can also prove his/her mettle and ability by posting work on sites like this one (Yes, comics editors do patrol Deviant Art.). It's more a matter of being earnest, diligent, and persistent, along with being talented. Building a solid reputation is vital as well. Once an editor believes you're talented enough, it must then be demonstrated that you can be consistent as far as schedules and deadlines. An assortment of work on a generous scale, rather than just a few samples, goes a long way to show how much you love to draw. A wider range of style and content shows diversity, and a preparedness to handle whatever the assignment may entail (This increases your potential value as a pro.).

Continue posting a variety of good work. Continue to bug editors so they remember who you are. Endeavor to establish your own powerful style presence that is fresh, not so reliant on other artists as influences. Master different types of media, focusing on a fundamental foundation of traditional tools first, THEN expanding to digital. Network with the professional artists you discover online, and in person at comics conventions (You never know when a professional may be reminded of you when they have extra work, and a recommendation is often a crucial way of entry into the business.)

Above all, imbue your artwork with a compelling sense of STORYTELLING. Pretty illustrations are a dime a dozen, but the greatest hallmark of a talented illustrator (whether in comics, or animation, or marketing, etc.) is in the deft ability to illustrate IDEAS. Sure, you can draw from photos, or you've mastered drawing muscular people in superhero tights. But can you draw according to instruction? Can you depict a specific scene effectively so that it convinces a wide audience of a specific concept in ONE SINGLE IMAGE? Can you also tell a story with sequential art, pacing the action interestingly and dynamically, as well as artistically, always getting the point of the STORY across as the chief mandate rather than showing off how pretty your figures are? Draw EVERYTHING, including people in regular street-clothes, in various attitudes and historical drapery, animals of all sorts, buildings and objects in all perspectives in every kind of lighting, vehicles and machinery, landscapes... Learn to properly convey mood, not just action. Master subtlety alongside the overt, as these are the tools of good drama, and through your illustrations, you will be the one acting, orchestrating every character's performance. Draw what is seen and available as reference, and that which is not. Drawing "out of your head" is an underrated skill among so many artists, but it distinguishes the truly inventive draftsmen. You may be called upon to conceptualize, and this means employing your imagination in a more challenging way. The mind's eye is where fantasy finds a portal to perceived reality, and the artist who channels this process masterfully becomes the visionary.

Now, accomplishing all these things well in a 20-plus comic book story is difficult enough. Accomplishing the equivalent on a comic book cover can be even more challenging as you bear the responsibility of instantly capturing the interest of the casual observer passing by the comics shelf. The standout comic book cover artist must also have a solid grasp of the pinnacle of commercial art, much like the old movie poster artists, the package art illustrators, and the book/magazine art mavens, because this is the type of art that has to market the product most efficiently and succinctly. You get one shot. BAMM!! Change a customer from a browser into a buyer in an instant based solely on the image you have created. This snippet of story you have just told has to pique the customer's curiosity so much that the product MUST be investigated, and the secrets revealed. THAT'S the mark of a true professional artist in the commercial ranks-- a STORYTELLER.

I can only offer advice based on my own personal experiences, insights, and observations. Seek out the counsel of other professionals too, since their perspectives may vary from mine, and this is also of value to you. Acquire every scrap of information you can in a dogged pursuit. But finally, do it because you are driven, because you love the art, because you love the medium, and the toil is a welcome measure of your intense commitment. Do NOT pursue this as a career with illusions of attaining wealth or fame, especially in these troubled times. Such things should always be the supplemental result of earnest achievement, and a reward for dedication. If this is the case, you will remain grounded, with a secure and levelheaded ego and your love of the medium intact. Such flighty things are transitory after all, and perilously fickle. Your attitude should be that if some fame comes or if it doesn't-- so what? That is not the motivation. Draw because you love to draw. Draw comics because you love story, and you love creating characters.

Become a professional artist because you have no choice, and there is no other aspiration. It's not what you wish to be, it is what you already are inside, and the world must recognize this fact. Brace yourself for discouragement and cold rejection along the way, but let it harden your resolve. Strive to learn from every negative experience even more than the positive ones. Failure is the partner of Success, and though you may often hear from one more than the other, you WILL hear from both of them at some point. Never forget that. When Failure's voice seems to be the only one you can hear, use that to get angry. Use that to attune your focus anew toward strengthening and growth, so that you can make Success be the next voice you hear, again and again, and it will resound far louder than any memory of puny failure.

Here I have given you what pragmatic advice I can, as well as a bit of philosophy, no charge. Distill from this what you find beneficial, and when you become all that you hope to become, pass on your lessons and advice to the next aspiring artist in unselfish magnanimity.

I hope I have been of some help.

All the best to you. :)
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:iconratwood42:
ratwood42 Featured By Owner Nov 11, 2008
Hey! I have this issue! Nice work!
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:iconflowcoma:
FlowComa Featured By Owner Aug 9, 2008  Professional General Artist
Awesome inkwork again man, especially your use of splatter. Lovely control. What size was the original done at?
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:iconjerome-k-moore:
Jerome-K-Moore Featured By Owner Aug 10, 2008  Professional Filmographer
Control? It was just a matter of aiming the toothbrush at the portions of the art that weren't screened over. Nothing special, really.

It was the standard cover size for most comics, approximately 11"x 17".

Thanks!
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:iconflowcoma:
FlowComa Featured By Owner Aug 10, 2008  Professional General Artist
haha well hey, way to mask out bits and spray ink then ;p at the end of the day its all just a series of technical processes if you want to reduce it to that, sure.

I was complimenting your overall effect of the splatter and other linework combined which looks dirty but controlled... its quite nice.
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