DHC:  Your covers always feel like they coming right out of a page of the story, What's your process for making this happen? 

J.P. Leon: I try to keep storytelling in mind even when doing a single image like a cover. My process starts with a rough sketch done print-size with pencil and usually black marker.  I scan that in and throw some basic color on it with Photoshop.  If it gets approved, I move on to an 11"X 17" pencil version. This is usually very inconsistent in how tight different elements are. Sometimes I feel it's better to draw directly in ink with little to no penciling underneath and other times I feel I have to solve some drawing problems in pencil before moving on to ink. It's a very subjective decision. Also, sometimes different elements on a cover are drawn on individual sheets and put together later on the computer.  I try to avoid this because I still like having the original piece of art in the end.  I'm old fashioned that way. After the B&W is done, it gets scanned and colored in Photoshop.  Hopefully, it passes and can be delivered via FTP.

DHC: What's been the best part of working with The Massive team? How about the most challenging?

J.P. Leon: I've had a chance to read some of Brian's scripts.  His writing is very succinct, and that helps me visualize the action, characters and mood in a scene.  There's a lot of great stuff to draw in this story: ships, zodiac rafts, people in big coats. There are lots of opportunities for dramatic imagery, and from what I've seen, Kristian is really bringing his A-game.  His stuff is very streamlined and clean.  I don't know if it's intentional, but that 'coldness' works well in this story.  

DHC: What dream comic would you love to work on? What excites you about it?

J.P. Leon: Something that I've written myself. Although I don't know what that is yet. 

DHC:  What's your personal favorite piece you've ever worked on?

J.P. Leon: I don't think I have one. Usually, I dislike my own work once I'm finished with a piece.  Then, after some time has passed, and I look again with fresh eyes, I think, "Well, that's not so bad." Nothing jumps out as a personal favorite piece though.  I'm inclined to like a storytelling sequence that worked out well better than a single image.

DHC: What's different about The Massive from other gigs you've had?

J.P. Leon: This is the second run I've had as a monthly cover artist, after DMZ. Usually, I'm doing paneled pages.

DHC: If you had a superpower, what would it be?

J.P. Leon: Time travel.  Would help with deadlines!