Open Game License

OPEN GAME LICENSE Version 1.0a The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000 Wizards of the Coast, Inc (“Wizards”). All Rights Reserved. 1. Definitions: (a)”Contributors” means the copyright and/or trademark owners who have contributed Open Game Content; (b)”Derivative Material” means copyrighted material including derivative works and translations (including into other computer languages), potation, modification, correction, addition, extension, upgrade, improvement, compilation, abridgment or other form in which an existing work may be recast, transformed or adapted; (c) “Distribute” means to reproduce, license, rent, lease, sell, broadcast, publicly display, transmit or otherwise distribute; (d)”Open Game Content” means the game mechanic and includes the methods, procedures, processes and routines to the extent such content does not embody the Product Identity and is an enhancement over the prior art and any additional content clearly identified as Open Game Content by the Contributor, and means any work covered by this License, including translations and derivative works under copyright law, but specifically excludes Product Identity. (e) “Product Identity” means product and product line names, logos and identifying marks including trade dress; artifacts; creatures characters; stories, storylines, plots, thematic elements, dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, poses, concepts, themes and graphic, photographic and other visual or audio representations; names and descriptions of characters, spells, enchantments, personalities, teams, personas, likenesses and special abilities; places, locations, environments, creatures, equipment, magical or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark or registered trademark clearly identified as Product identity by the owner ofthe Product Identity, and which specifically excludes the Open Game Content; (f) “Trademark” means the logos, names, mark, sign, motto, designs that are used by a Contributor to identify itself or its products or the associated products contributed to theOpen Game License by the Contributor (g) “Use”, “Used” or “Using” means to use, Distribute, copy, edit, format, modify, translate and otherwise create Derivative Material of Open Game Content. (h) “You” or “Your” means the licensee in terms of this agreement.

2. The License: This License applies to any Open Game Content that contains a notice indicating that the Open Game Content may only be Used under and in terms of this License. You must affix such a notice to any Open Game Content that you Use. No terms may be added to or subtracted from this License except as described by the License itself. No other terms or conditions may be applied to any Open Game Content distributed using this License. 3.Offer and Acceptance: By Using the Open Game Content Youindicate Your acceptance of the terms of this License. 4. Grant and Consideration: In consideration for agreeing to use this License, the Contributors grant You a perpetual, worldwide, royalty-­‐‑free, non-­‐‑exclusive license with the exact terms of this License to Use, the Open Game Content. 5.Representation of Authority to Contribute: If You are contributing original material as Open Game Content, You represent that Your Contributions are Your original creation and/or You have sufficient rights to grant the rights conveyed by this License. 6.Notice of License Copyright: You must update the COPYRIGHT NOTICE portion of this License to include the exact text of the COPYRIGHT NOTICE of any Open Game Content You are copying, modifying or distributing, and Youmust add the title, the copyright date, and the copyright holder’s name to the COPYRIGHT NOTICE of any original Open Game Content you Distribute. 7. Use of Product Identity: You agree not to Use any Product Identity, including as an indication as to compatibility, except as expressly licensed in another, independent Agreement with the owner of each element of that Product Identity. You agree not to indicate compatibility or co-­‐‑adaptability with any Trademark or Registered Trademark in conjunction with a work containing Open Game Content except as expressly licensed in another, independent Agreement with the owner of such Trademark or Registered Trademark. The use of any Product Identity in Open Game Content does not constitute a challenge to the ownershipof that Product Identity. The owner of any Product Identity used in Open Game Content shall retain all rights, title and interest in and to that Product Identity. 8. Identification: If you distribute Open Game Content You must clearly indicate which portions of the work that you are distributing are Open Game Content. 9. Updating the License: Wizards or its designated Agents may publish updated versions of this License. You may use any authorized version of this License to copy, modify and distribute any Open Game Content originally distributed under any version of this License. 10. Copy of this License: You MUST include a copy of this License with every copy of the Open Game Content You Distribute. 11. Use of Contributor Credits: You may not marketor advertise the Open Game Content using the name of any Contributor unless You have written permission from the Contributor to do so. 12. Inability to Comply: If it is impossible for You to comply with any of the terms of this License with respect to some or all of the Open Game Content due to statute, judicial order, or governmental regulation then You may not Use any Open Game Material so affected. 13. Termination: This License will terminate automatically if You fail to comply with all terms hereinand fail to cure such breach within 30 days of becoming aware of the breach. All sublicenses shall survive the termination of this License. 14. Reformation: If any provision of this License is held to be unenforceable, such provision shall be reformed only to the extent necessary to make it enforceable. 15. COPYRIGHT NOTICE Open Game License v 1.0a Copyright 2000, Wizards of the Coast, Inc. System Reference Document 5.0 Copyright 2016, Wizards of the Coast, Inc.; Authors Mike Mearls, Jeremy Crawford, Chris Perkins, Rodney Thompson, Peter Lee, James Wyatt, Robert J. Schwalb, Bruce R. Cordell, Chris Sims, and Steve Townshend, based on original material by E. Gary Gygax and Dave Arneson. END OF LICENSE


I have been freelancing now for over ten years. It has become that I almost never draw for myself. After finishing my latest book, I decided to draw this image spontaneously. I was inspired by the clouds that appear in the skies of upstate New York. They are stunning and beautiful and are always breathtaking at sunset. I hope you enjoy this drawing, I am offering prints of this image in the shop, if you would like to own this for your walls. Thank you for reading.


Slowing down to Smell the Roses


The last year of my life has been one of a lot of changes. Well, not changes, more like leveling up. I moved to a new city (Portland), distant friends became closer friends, and close friends became more distant. As the song goes, “Love Changes and Thug Changes, and Best Friends become Strangers” Word up. I never have worked as much as i have worked this year, in a career of my own choosing. I got my own apartment, and i thought i’d be terrified of being alone, but that never happened. I became really angry at comics, angry at everyone who makes and likes comics, and then mostly got over it. I’m always terrified that my life will crash and burn, that my career will fall apart, that all my talking shit will come back to shit on my parade. So far, no shit storm. But it hasn’t, so…

View original post 1,851 more words

In my Dreams, I was an Engineer

When i was a little kid, i was crazy for those amazing cut away books. I would read them all, pour over the illustrations, and they really are a genius way of getting across how complex systems and machines are put together, and unraveling the mysteries of modern living. They also had books on Ancient Rome, Ancient Egypt, and old medieval castles and warships. Really, you could be a kid genius with those things. You still can, since they sell for cheap on Amazon.

Everyone always goes on about their favorite comic book artists, but this guy, he was it for me. Stephen Biesty, Wayne Douglas Barlowe, and Frank Asch, those were my prime movers. They put a seed in my head, that has grown into a vine that effects everything i do.

Frank Asch – This Sequence is all you need to know to draw comics

Wayne Douglas Barlowe – everything you need to know about World Building, he’ll teach you.

Stephen Biesty – best way to learn how anything works, is to take it apart and look inside.

One of the things i wanted to do when drawing Mega-City 2, is to absolutely define it. I didn’t want to just make a pastiche of other cities i’ve seen before, i didn’t want to do an uninspired by-the-numbers sci-fi metropolis, i wanted to build it from the ground up. I wanted to take things apart, and show you the insides. So in the final issue, i really wanted to stop the action, in the biggest action sequence of the comic, to just say “LOOK AT THIS”. So for an even closer look, here is a behind the scenes look from pencils to finished art, on the Titan Megatrain.


image_2image_1  image_3 image_4


Colors by Ryan Hill
Colors by Ryan Hill

I had a lot of fun making up the various bits of techno-babble that helps the ship operate. You try to have every function be directly tied to some other function, imagining if one thing broke down how would it affect everything else. Everything has its purpose. If you’re wondering what the Blue Matter Diffuser Array is, I can tell you. Blue Matter are subatomic particles that are time displaced only a fraction of a nanosecond into the future. The Diffuser Array allows quantum entangled computers to measure the changes that the Blue Matter goes through in the future, and allows for limited predictive reactions. When disasters begin from the smallest of impacts, fractures, or mechanical failures, the Megatrain’s automated systems can prevent terrible accidents. As you can see above, none of this made it into the comic, but that’s the joy of making comics. Half your job is just making things up for fun.

The most difficult part of this drawing then was not coming up with the detail work, but deciding what not to show. Keeping the form of the entire structure readable, and not just a random collection of slices and chunks, was a challenge, because you want to show it all! This was probably the most detail heavy, and complex cutaway i’ve done, and its really just a straight up box. Compared to the wide variety of forms and volumes that Stephen Biesty, and other similar artists work with, when i was done i really appreciated the level of imagination, patience, and expertise that goes into these cut aways. In the end, I’m left feeling like the below image, but i hope you enjoyed Judge Dredd – Mega City 2, by Douglas Wolk and Ulises Farinas and Ryan Hill.


How to draw Cars!

Cars are really a pain to draw! But after having to draw a bunch of cars, trucks, trains, and bikes in JUDGE DREDD – MEGA CITY 2 (#5 comes out this weds!) I really got a handle on these beasts. Now i like drawing them.

Reference is absolutely necessary for drawing cars, because although they are simply buckets to transport humans in, there is a massive variety of lines, forms, shapes and details to vehicles, that you don’t even expect. Fortunately, you can buy dozens of toy cars for about a buck each, at any supermarket. Hotwheels leads the way!

The first thing to keep in mind with cars, is that the Driver and Passengers are all sitting in a nice squashed cube. The front and back of the vehicle, are simply attached to this cube. But all lines on the vehicle must align with this cube, that is the most difficult part. People are usually sitting in a lower position in a car, than in a standard chair, and when they are standing outside the car, they can almost always see the top of the vehicle.

So i begin by taking photos of the toy car that is closest to the design of the car i’m drawing. Judge Dredd’s vehicle is a mix between a Chevy Vega and a Dodge Daytona Charger:

Screen Shot 2014-05-12 at 1.04.12 PM


You don’t want to just take one photo, because cars are always supposed to look in motion, and the first photo you take will always look very stilted and stuck. Take a number of photos of the toy cars, until you find the right shot. You won’t be tracing this shot exactly, you will be interpreting it. Also, the ‘crop’ function on an iphone is useful, for creating the exact panel dimensions you’ll be using.

photo 1

photo 2

When you begin drawing the cars, you start with drawing the squashed cubes that the characters sit in. Perspective rules are king here, and this is why you begin with the squashed cube. Cars are often hard to draw, because they are shaped like strange tetris blocks, which are moving against a static background, which throws the car’s vanishing points into opposition with the background’s vanishing points. But as long as you follow the perspective lines that you’ve set down with the cube, you will be okay. Having the toy car with you, will help you in keeping the proportions of the vehicle correct. Like a face with eyes, ears and nose, a car has wheels, windows and spoilers.

unused cover pencils
Above are some pencils i did for the Judge Dredd – Mega City 2 #5 cover, that i decided i hated, but its a good detail of the pencils for the car. Occasionally, you will find that you just can’t get some details of the car to mesh right, and you gotta fudge it. I just use motion lines to cover up any wonky spots on the car. Its an easy cheat. Once you got your car, nicely rendered in your pencils, you can begin inking, and this is where other motion flourishes and movement can be depicted. Wheels should stretch and lean a bit into turns, think of old school animation techniques.

And here are the finished inks and then colors by Ryan Hill for this car chase sequence in Judge Dredd – Mega City 2 #5, out this May 15.

Screen Shot 2014-05-12 at 12.49.49 PMScreen Shot 2014-05-12 at 12.49.26 PM




If you loved GAMMA, me and Erick Freitas have brought you the next super excellent comic, through MONKEYBRAIN. 4 different artists, a cover by Paul Chadwick, an amazing logo by Hannah Nance Partlow and everything written by the best super team since Batman & Superman.

“It only took one visit to the Amazing Forest to convince me: the breadth and depth of material here gets me all juiced up for the unlimited potential of the medium. Great stuff, from top to bottom.” – Joe Casey


check out what others have said already about it –

Tumble on!


Just to let anyone know, who wants to know, i have two tumblrs that I update regularly. This one:

Is my inspiration tumblr, where I post art and images that jumpstart my brain when i’m having trouble drawing.

And this one, is my advice column, where I answer people’s questions. It helps me relax at the end of the day, to just write for fun and think of solutions to problems.

Also, check out these Battle Beast designs, for funsies

Recent Work!

I’ve been busy lately, working on 2 books, a show for Giant Robot 2, and cover art for some great comics coming out! First off, make sure to check out on FEB 18, THIS:

Make sure to check it out, it’s a sneak preview for what you’ll be seeing more of later this year!

AND! AND! Check out these two covers i did. Make sure to read Joe Keatinge’s and Ross Campbell’s GLORY comic, i think it’s awesome, so i did a cover. GLORY #26, go spend money!

And for BOOM STUDIOS! Check out this Fanboys Vs. Zombies #1 VARIANT cover!

I think that is all for now…oh wait, here’s a secret sneak peak of something amazing..

..Motro? Is that you?

Batman vs. Superman

The one thing i always hate in these arguments are the “But if this was a REAL fight,” which is silly since you’re discussing fictional characters. So you actually have to place the fight on the character terms. Batman wins, not because he’s better prepared, but because his character is fundamentally presupposed to win. His character is that he has to face impossible obstacles constantly:

1. fight crime in a perpetually corrupt city, which as a function of story telling, literally never gets better. So 20 years in, or 40 years in, Batman’s job has not made anything better. But, he can’t stop. He’s pretty much sisyphus in spandex.

2. he also must combat epic-level dangers, and be able to hold his own and be a leader to super powered characters. And since he’s right next to very powerful characters, he can’t be shown as weak, so he’s developed this meta-power of always being prepared.

Since his existence is one of perpetual struggle – victory – struggle, if he lost, it’d undo his character completely.

But Superman is almost the opposite. He’s not a human cursed with a literary hell on earth, and remaining just sane enough to call himself human, he’s an alien who’s godlike, masquerading as a human. So, he must constantly be humbled, defeated, and rise again. Which is messianic in it’s nature, which is what the character represents. So when Superman confronts Batman, he loses, but loses until he realises he shouldnt be fighting Batman anyway. Pitted against each other, they must fulfill their character arcs, so Batman wins, continues in hell, Superman loses and returns to heaven.

Its perfectly reflected in their cities, and enemies. Batman lurks in the dark wet Gotham fighting demonic villains (twoface, joker, killer croc) whereas Superman flies above the skies of sunny metropolis fighting Lex Luthor (A god among men) Darkseid (a literal New God) and Mxyplyzyk (A 5th dimensional God).

So Batman wins, cause he’s written to. But his life sucks in the long run.

Superman loses, but he gains in humanity.

weird drawing for my boss

my boss asked me to draw him something for a commission. This is what he asked for, “I want like all kinds of stuff, but in your style, but i definitely want a hot girl, but tasteful y’know? And like dolphins and SPACE!” This was as detailed as i could get. Here is what i drew.

i felt emo

and for some reason, i had to get up and draw this. I don’t ever draw anything manga-y, but here ya go. this is what happens when i feel like crying like a little girl.


I started reading Blackest Night from DC in the past week, and so far, its been the only big giant crisis crossover event that hasn’t completely irritated me. Actually, i like it. So i decided to draw this. Hope you like it.

i drew this

This is an old comic idea, that i decided to draw a poster for. Gamma is basically "What would the world be like if giant Kaiju destroyed the world, the Power Rangers couldn’t stop them, and pocket monsters were used in brutal back alley cock-fights?" This is the answer.


Hey, i got another commission, it was fun to draw this.

Find these things;

Lego Man
A Sandwich
A Teddy Bear
Bart Simpson
Harry Potter
Corn Pops Cereal
A Robot
Me, Ulises Farinas
A Mustached Cat reading a book and smoking
A Magnet
Raphael, the Teenage Mutant Ninja Turtle

there might be more, not sure. Hope you like it!

MOTRO cover for SPAIN

The first chapter of MOTRO is going to be published in SPAIN this fall, relettering all the pages has been taking up most of my time, along with a few other things. So here is what has taken my time this week, the cover for the SPAIN version. I might switch the two text boxes, to their opposite sides, those are the inside flaps of the cover, btw (if you’re wondering why its so long), it’s gonna be printed at mini-comic size i think, by this group called Polaqia. Check it out:

MOTRO cover

I sent out the first chapter of MOTRO to Comixpress, for it to be printed on demand. I wanna see how it works out. Here’s the cover i made for it. Check it out!

Portfolio Dumping!

These are the Gigantas, they are sorta the mascot for the New Elegant Universe. Their life cycle is clump of dirt, that rolls up into a larger clump, into a baby-hill, into a mountain man, which then molts into a Gigantape, which may grow until it stops moving, and begins to gather more and more sediment, (maybe in space, like GALACTAPE) until it turns into an asteroid, a moon, a planet, or even a star. Then the cycle begins again. Gigantapes are the most common of the Gigantas, but there’s also the Gigantopus (very near, foreground), the Gigantaslug (standing on the Gigantopus’ head), the Gigantabehr (with flying bunny friend), and the Kiwahirsuta (The Gigantalobster). All gigantas have the need to constantly be moving, and also are guardians of the natural order. Galactape is a guardian of the galaxy. Galactaverse…that might be a drawing for the future.

portfolio dump, part 5ish?

This was a freelance illustration i did for INC. Magazine. I did one version, but they wanted more “complexity” and ‘details”, like my heavy detail work, so here are both versions:

It’s a pretty good magazine, and i like to call this the “Mail Planet”. The article it was for, was how to make Microsoft Outlook more efficient with a few tools and other thingies.

a commission!

This is a commission i did, for a friend’s first Father’s Day. I’m really happy with how it came out, i’ve never been asked to do a drawing for someone, and i really wanted to give them something i’d be really happy with. So i tried my bestest!

Anywho, i liked doing it, so i thought, maybe i should try to do more. So yeah, if anyone is interested in me drawing them something, i’d be interested in doing it! Okay, i think that’s all.