I finished the pencils for Souled #2 the other day and did this for my friend's band, but I've heard mixed reviews about its readability. If you turn it 90 to the right you can see the skull pretty easy. But I think it works as being intrinsically visually interesting even if you don't know what you're looking at. So I think I still accomplished my goal and got to do another digital painting. As far as souled goes since doing 20pgs for From blood #1, back to back with a 24pg issue for Souled - my style is starting to cement itself. In my opinion somewhere between Chris Spouse and JRJR. Drawing for color with Souled has also changed things like my black placement and made me use more lines and hatching, like a exaggerated or blocky Kubert. Though I love seemingly simplistic work of guys like Alex Toth and even how loose Rick Leonardi's work is. But I'm also finding out how great and different a piece can look when you leave that much up to the inker. Some things that don;t matter to me and some that I envisioned as being a bit different when finished out than they go - not better or worse, it just means giving some of the finished product up to the inker. Which takes a little getting used to, especially since before Souled I hadn't worked with a separate inker over me. But I've still been able to stay well ahead of my deadlines and even fit projects into crunch areas when I have a break. Not relating to my style, but finding some classic Jose Luis Garcia Lopez artwork that I grew up with and being able to say - "That's my Batman" and feeling so dumb for always assuming his art was Niel Adams - though both look great and I prefer with the bold inking of my fav. Dick Giordano, RIP.