Ruth

Ruth
original sketch

I’m now onto the final part of my Clip Studio Paint Tips for Digital Outlining! tutorial by Eridey. I’m following a step by step demonstration of how to draw a female comic book character but basing my version on a 1985 sketch of Ruth, a communication design student at Leeds Polytechnic. I’m attempting to replace my tentative pen and wash with the graphic style of the tutorial, so my character is getting jet black hair instead of the fair hair of the original Ruth.

This is unfamiliar territory for me, so I’ll probably try working up several different sketches of people to get the feel of the process. Ultimately, I will use the techniques in my own way but first I want to understand how comic strip artists go about achieving their crisp and confident style.

I start with the G-pen, drawing the face and then, on a separate layer, the outline of the hair.

Blocking in

Next stage is to fill in the outline of the hair using the paint bucket tool. I draw the hands on another layer, on top of everything else, but initially you can see through to the layers below, so I need to create a layer mask, which in effect cuts a hand-shaped hole in the hair. It’s a technique that I’ve never used before, so that’s something new that I’ve learnt from going through the tutorial.

My original sketch

I then add individual strands of hair. The highlights are drawn using the G-pen loaded with transparent ‘ink’, rather than opaque white, so it’s like cutting into the area of black as you would when drawing on scraperboard.

Finally, on a base layer, I add tones of grey using the paint bucket tool. The simplified tones make me think of printmaking. But the original sketch is probably still my favourite!

Distant View

Continuing with my Clip Studio Paint line drawing tutorial, this exercise, again closely based on an example in the Tips for Digital Outling! tutorial by Eridey, is intended to show how a thicker line can suggest that a subject is in the foreground.

The figure and the landscape are taken from two sketchbook drawings. The landscape is line for line like the original, except that I moved the house, which would have been hidden by the figure.

The man with the bag was a lightning sketch of a passer by but I had to change the perspective as my composition required a low viewpoint. As I firmed up details from the quick sketch, he became more of a countryman. With those hills behind him, I couldn’t help thinking that he might be a character in a James Herriot story.

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Drawn to Life

line drawing

Our coffee table, which always has a pile of magazines and books on it. I’m currently reading through Walt Stanchfield’s Drawn to Life, but this drawing is another in the Digital Outlining tutorial by Eridey which I’m following, thinking about how using a thicker line might draw attention to the subject of a comic strip frame. Eridey features a similar comic strip frame as an example in the tutorial, so I’ve done my own version, to try out the technique for myself.

According to John Ruskin in The Elements of Drawing, any variation in line is to be frowned upon – in his opinion it doesn’t add anything to the drawing itself – but animator Walt Stanchfield’s approach is that anything that helps a drawing tell a story is a good thing.

Digital Outlining

line drawing tutorial

I love going through tutorials and as this one, a Clip Studio Paint tutorial, Tips for Digital Outling by Eridey, is especially appealing as it is more about drawing than technical details. My spheres have turned out wobbly and I know there’s a way around that, but that isn’t the point of the tutorial, it’s just the line drawing that we’re interested in here:

“The outline is a fundamental part of the illustration, sometimes it can be frustrating, especially when we see that our sketch looks better than the final version.”

Eridey

Yes, that’s a familiar feeling.

Link

Tips for Digital Outlining Clip Studio Paint tutorial by Eridey

Collop Monday

“Collop Monday: pancake Tuesday: fruttis Wednesday, an hey for Thursday afternooin.”

‘Provincial Words in use at Wakefield’, collected by William Stott Banks, 1865.

‘COLLOP MONDAY, day before Shrove Tuesday.’, wrote W. S. Banks in 1865, ‘Children had a custom, and in some places have yet, of giving their School teacher bacon collops and eggs on this day. People thought no luck would attend them all the year if they did not dine on bacon collops this day.’

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Hand Drawn

There are thirty-four individual drawings of hands and almost as many of the figure in this short animation, which lasts about four seconds.

animation frames

It started off as a doodle of a man turning his head but moved further away from the cartoon original as I tried to get some expression into his face.

hand drawn cartoon

I drew it on my iPad Pro using an Apple Pencil in Clip Studio Paint EX. I’d been reading a tutorial about using Vector brushes so I’ve kept things simple and this has been drawn with the G-pen vector brush and the colour added on a separate layer using the Paint Bucket tool set to ‘Refer other layers’. As you can see here, the layers are treated as individual timelines in this program.

It’s usual to keep the timeline open for reference below the drawing but I might try my next animation with it above the drawing, because occasionally my hand would rest on a frame of the timeline and I’d find myself drawing on another cel.

I’ve got ‘Onion skinning’ turned on here. The blue outline represents the previous frame, the green the next frame.

Drawing all those individual frames of hands and faces has helped me get a feeling for the way the program works. It’s a time-consuming process but the traditional method of drawing every frame in an animation is closer to my sketchbook drawings than the previous methods that I’ve tried – such as Adobe Character Animator – which are often best approached as you would a cut-out animation.

Link

Clip Studio Paint EX

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Barbara’s Rhubarb Cheesecake

“Welcome to the Rhubarb Kitchen!
“Today we’re making my all time favourite rhubarb recipe, a rhubarb version of the classic baked cheesecake.
“It might be very calorific but our local-grown forced rhubarb really is something to celebrate.”
My cartoon animation from Wakefield’s Rhubarb Festival features Barbara’s recipe and Karen Chalmer’s music.

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Bouncing Coin

After finishing my Rhubarb Festival animations, I realised that it was time for me a bit more about animation. I’m enjoying reading The Animator’s Survival Kit by Richard Williams but thought that I’d understand it better if I tried some of the animations that he suggests for myself. This bouncing ball animation took just minutes to film but it took a while for me to find the most effective way to convert the sequence of images into an animation. After trying the timeline in Photoshop and in Adobe Animate, I eventually settled for importing as an image sequence into Premiere Pro.

iPad

My studio setup was a precariously balanced iPad and my subject was a 1797 twopenny piece on the studio floor. Appropriately Richard Williams’ hefty Survival Kit provides the necessary gravitas.

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Dawn ’til Dusk

This time-lapse sequence shows clouds moving north-east as the weather fronts that preceded Storm Dennis swept in from the North Atlantic. At the end of the middle sequence you can see the higher clouds are moving in a different direction to the lower clouds, veering off to the east a little.

Righty Tighty

Because of the Coriolis Effect, in the Northern Hemisphere moving masses of air are deflected to the right (the same direction as tightening a screw). I can remember standing on a recreation ground roundabout and feeling that pull. If you stand with the wind behind you, the high pressure area is always to your right.

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Spring Bulbs

We planted hundreds of crocus, iris, snake’s-head fritillary and tête-à-tête daffodil bulbs in the autumn and they’ve done well, coming up amongst the cyclamen here in the front garden. The cyclamen have been in flower right through the winter.

This is my first ever post written – and photographed – on an iPhone. My previous mobile phone dates back to 2005, when I was working on my High Peak Drifter sketchbook and Barbara insisted that I should take a phone with me in case of emergencies. I’m going to use my new iPhone a whole lot more.

Shapes, Adobe Capture

Of course I don’t really want to make phone calls, it’s the possibilities of using apps like Adobe Capture to do all sorts of things when I’m out and about that I can’t do with my iPad that appeals to me.

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