AS I WAS drawing chimney pots from the waiting room the other day it started to rain so heavily that the small patio, pummeled by the deluge, frothed and bubbled like a shallow Jacuzzi and my view disappeared behind windows that soon became water-features.
I turned my attention to the chair, which someone promptly came and sat in, so he got included as well.
I was drawing this bicycle at the cafe at Newmillerdam on Monday and as it’s owner, Beverley, prepared to whisk it away (that always happens when I start drawing, doesn’t it?!) she came over to chat. She works in stained glass; usually small free-standing panels with lead tracery.
Had I seen the work of her friend Mark Powell? she asked me. He draws detailed character portrait studies in Bic ballpoint pen.
Another of her creative friends, Karron Campbell lives in what appears to be an impossibly scenic corner of New Zealand. Karron and her daughter Rickie left Wakefield four years ago and not surprisingly they don’t seem in any hurry to come back!
I guess the Coromandel Peninsula offers more scenic possibilities than Wakefield’s Rhubarb Triangle.
BACK TO the exercises in Drawing Words, Writing Pictures and my next assignment is to draw a single panel 5 x 7 inch cartoon then come up with three different captions.
At first my mind went blank and I considered some traditional cartoon scenarios – the desert island etc – but then I decided on two voles, one I imagined with a kind of glazed but thoughtful expression, the other turning to ask it a casually dimissive question.
Hey, look, we’re still in pencil, shouldn’t we be inked by now?
But getting such subtlety of expression proved beyond me. I didn’t want a startled look (above, top) or a dumb ‘oops!’ look (above, lower left) – that vole reminds me a bit of Stan Laurel. With his pointing finger, the questioning vole (above, lower right) looks too much as if he’s giving important advice rather than being dismissive.
I’ve introduced too much drama for the gentle atmosphere of ennui that I had in mind; the vole version of Waiting for Godot.
You’re kidding! – you saw a body coming through the rye?!
In my next attempt the vole on the left looks too stunned while the one on the right should be turning in a peevish way but instead he looks as if he’s preparing to escape some horror. This is the problem with showing a sequence of actions in just one panel; has vole 2 been;
facing to the right and he’s just turned his head back, or
has he been facing to the left and he’s just turned his arms and torso to the right?
With all that unintended action in my rough, I’ve gone for a more dramatic caption.
And what does a vole do with it’s hands? I’ve heard animators say that they’re actors who work with pencils and the same applies to cartoons. Even the insignificant details that no one is going to notice still have to work.
Just think! Exactly which clump of meadow grass did you leave it next to?
The anxious vole and his annoyed companion in this one brought to mind the familiar lost car keys, or lost car in a huge car park situation. What ‘it’ is in the context of the everyday life of the vole, I leave for the reader to decide. A hazelnut perhaps?
But that’s quite enough vole cartoons. The great thing about doing this course is that it’s purely educational and I don’t have to come up with a working solution each time. I can now go forward to the next exercise, something fresh to have fun with.
Usually with these ‘how to’ art books I’m tempted to read through them quickly thinking ‘Oh yes, I’ll remember that advice.’ But there’s nothing like trying it for yourself to really get to grips with the principles and to understand how it all works.
I THINK that I could write a short book about this picture. It’s like a time capsule from my family’s past. We’re lucky to have dozens of Victorian photographs but this is my absolute favourite because the others, usually of people in their Sunday best standing sometimes in front of a painted background in a photographer’s studio don’t give us a glimpse of everyday life. It’s the sort of glimpse of normal life that I long for while I’m checking out the bare details of births, deaths and marriages.
He’s a real guy, relaxing at home. How often is this kind of candid shot going to turn up in a family album?
This photograph is just 5.5 x 8.5 cm (2¼ x 3¼ inches) – as you might guess from that gigantic thumb print! I’m going to do a lot of Photoshopping on this photograph to get rid of the dots and streaks.
My great granddad George Swift (1840-1918) has appeared in my Wild West Yorkshire diary before wearing a velvet dress but I should explain he was only a toddler at the time and in the 1840s that’s how they dressed. He worked as a spring knife cutler in Sheffield but as a sideline he and his wife Sarah Ann ran a little grocer’s shop which must explain the Peak Frean’s Biscuit advertisement (a sandwich board to put out when the shop was open?) in front of the kitchen range.
I’m guessing that the watering can on the range is actually a kettle. Those two black shapes behind it look like the iron lids that cover the hot plates on an Aga. Or are they plates or platters? And I think that the cupboard on the left must be the oven of a Yorkshire range, so George is sleeping by the fire.
What was in the rather nice china bowl beside him? Soup . . . porridge? Have you noticed the colanders and what I think is a potato ricer hanging on the wall on the right.
I remember my grandma (on the other side of the family) cutting newspaper for her larder shelves to resemble those lace edges.
I so wish that I could see the whole of the picture in the top left corner. I think that we’re seeing a clenched left hand and a blowsy flower like a camelia or an old-fashioned rose. Is the flower growing from a kind of tiled planter or is that a piece of card that someone has slotted in the corner of the picture for safekeeping.
I would like to think that the picture is of George’s father Samuel Burgin Swift (1813 – 1878). The style is similar to the oil on canvas portrait of George as a toddler that my mum still has. We have no picture of Samuel Burgin, so wouldn’t I love to see that picture! He was a cutler like his son, so is he holding one of the tools of his trade?
Identifying a water beetle; this one didn’t have an English name.
I’VE HAD my Olympus Tough for a few years and it’s proved as reliable as the name suggests so on a Wakefield Naturalists’ field meeting today, when we were looking at leeches and efts (young newts) in a pond at Potteric Carr, I decided to be brave and reach down into the water to see how it would turn out.
Eft; a young newt
Hidden Depths
Leech, this one was about six inches long at full stretch!
My wildlife photographer friend John Gardner suggested using a flash. I normally prefer natural light but, in the murky depths below the pondweeds, the flash works well.
Leaning out and reaching into the water with one hand I found it difficult to avoid camera shake but at least I know that in principle the camera works underwater. Perhaps a rockpool would make a better subject.
I NOTICED when I was drawing my assignments for Drawing Words, Writing Pictures that when it came to making up a cartoon situation I invariably;
imagined male characters
gave them very generalised costumes
I realised that I needed to feed my imagination a bit by drawing particular people in the real world so, when we had to call at the doctors, I sat a the back of the waiting room and made some visual notes. I thought that notes on colours might help too as I think that I’ve got a tendency to revert to a habitual, limited palette. There wasn’t time to get out my watercolours and I was using a fountain pen containing water soluble ink so I couldn’t have anyway, so I made brief notes.
It’s great to have a procession of people of different sizes, shapes and sexes, although I would have appreciated a bit more time to build up character. Because of the angle that I was drawing from, the next person joining the queue regularly blocked my view of the person I’d just started drawing.
I realised that the best way to proceed was to assume that I’d have only a few seconds for each character and to draw in the basic shape very quickly, then work up the the drawing if I got did happen to have an unrestricted view for a minute or two.
I feel that fountain pen is the quickest medium for this situation. Fibre tips pens don’t flow quite as freely. Pencil, the way I use it when I’m in a hurry, is too messy.
When the supply of queuers temporarily dried up, I reverted to my old standby; drawing my left hand.
An early comic strip of mine from the 1970s. I can see the influence of Frank Bellamy. The border was drawn with a ruling pen.
I FIND Manga Studio EX 4 is a like a cross between Adobe Illustrator and Photoshop, combining vector lines (as in Illustrator) with Photoshop style layers and colouring but it includes additional features intended to make life easier for the comic strip artist, helping you out with speech bubbles, screen tones . . . and panels.
I like to use simple panels in a comic strip as a formal framework for my hand-drawn artwork. I used to draw these with a ruling pen(below) but now I draw a grid in a desktop publishing program and print it out, a third up from what will be the printed size, for my drawings.
The ruling pen that I used for the borders in my Romans v. Brigantes comic strip was this, part of a Jakar Universal Giant Bow 2001 set which features an extendable compass for drawing extra large circles. I bought it at the Eagle Press, Wakefield, in 1975, price £5.26 (the sticker is still on the box).Queen Cartimandua hands King Caracatus over the to Romans. Castle Hill, Almondbury, Huddersfield, which may have been an Iron Age hill fort, rises from the mist in the background. The comic strip featured in my first book, A Sketchbook of the Natural History of the Country Round Wakefield (1978).
There’s a certain pleasure in drawing with a ruling pen but when I’ve got a deadline to meet anything that allows me more time for drawing the illustrations would be welcome. I’ve been watching some YouTube videos by Doug Hills, author of Manga Studio for Dummies, to familiarise myself with the process but for it to sink in I need to go through the stages for myself.
So here’s my ridiculously simple guide to the concept – I won’t go into every single detail – of getting a comic strip from rough to final printed version in Manga Studio EX4.
This isn’t the only way to do it but it should give you an idea. And please excuse my scrappy doodles.
Draw your rough
Scan it in grayscale (150dpi will be fine)
Open a new document in Manga Studio (I went for A6 portrait, 1200dpi)
Open your scanned rough and adjust it to fit the page. It is added as a new layer, which I set to grayscale (black and white makes it look like a pen drawing). In the Layer Properties panel, select ‘Sketch’ as the Output Attribute.
Create another new layer, selecting the Panel Ruler Layer option. Initially this puts one big panel, a blue rectangle, around your page so you now need to use the Panel Ruler Cutter to slice it into panels then the Object Selector to adjust the dimensions of each panel to fit your rough.
When you’re happy with the dimensions, with the Panel Ruler Layer still selected, from the layer menu choose Rasterise Layer. That’s the panels drawn! Give this layer a descriptive name, such as ‘panels’.
Drag your ‘panels’ layer to the top of the pile in the Layer Palette (right) and, as you can see by comparing the two stages above, it now masks any stray lines between the panels, leaving white spaces between them. When you start inking, any stray lines that go over the panel edges will also be masked.
To make inking easier you can switch the colour of your scanned rough to blue. Press the Switch Colour button in the top left of the Layer Palette to toggle from gray to blue (this only works if your sketch layer is in grayscale, it won’t work in colour or black and white).
Create a New Layer, (1200dpi, black 1bit, output attributes ‘finish’) for inking. I used my pen tablet and selected the G pen, a basic pen, from the Manga Studio draw tools palette.
When you’ve finished drawing you can export your page for print or for the web.
Two mysteries that I still need to solve; the line around the panels came out too thick and when I exported the image it was in negative, white on black instead of vice versa, so I had to reverse it in Photoshop. I’m missing a couple of options somewhere.
I’M ENJOYING my comics drawing course but I don’t want to forget the program that sparked this off, Manga Studio 4EX, so as I settled down at the end of the day I drew a familiar scene, the meadow and the wood beyond, in the unfamiliar medium of Manga Studio using my Intuous 4 pen tablet. It’s an awkward way to draw but it’s a good way to familiarise myself with the basic commands of the program such as selecting tool and colours, working with layers and exporting an image.
It’s never going to replace pen and watercolour but that isn’t the aim.
Another of the ‘action within a drawing’ exercises; a newspaper page blowing in the wind. Hmm, I misread that; I went for the whole newspaper!
THE NEXT EXERCISE that Abel & Madden set you in Drawing Words & Writing Pictures is to draw a series of actions in a single panel – and to try and make the actions flow in their logical order.
The cause and effect in this tripped up/knocks over lamp is, I hope, reasonably unambiguous as the action proceeds from left to right, the way we usually read a drawing in the west, but the next frame, the stone thrower, involves a reciprocal action so it’s trickier.
Chain of Events
I had a couple of goes at the throws stone/gun misfires/lamp crashes on stone-thrower scenario. The big problem with my solution is that the crashing lamp is the first thing the reader sees but it’s actually supposed to be the climax of the chain of events.
Homework is to make up your own scenario. Thinking of slapstick action, I remembered Eric Sykes’ almost silent movie The Plank but I didn’t find it easy to set up even the most blindingly obvious stunt in my drawing.
I’m equally clueless in trying to come up with funny captions but – phew! – the great thing is that this is just a learning experience. My career doesn’t depend on finding a solution.
Perhaps I need a more ‘cartoony’ style, as these straightforward sketches have all the comic ambience of a health and safety instructional leaflet. Of course some artists, such as English illustrator Glen Baxter, have made a career out of getting comic effect from a quirkily straightforward retro style.
ALTHOUGH IT’S less than a mile from Wakefield, Heath village at the top end of Heath Common, has a timeless rural feel. I don’t know another village that’s quite like it. It’s got a couple of big Georgian houses but it isn’t an estate village, it’s more random looking than that, but as it is almost all stone-built, it blends together.
Kings Arms Cottages, where the Heath Tea Rooms opened five weeks ago, overlooks the village green. For that matter the whole village overlooks the one green space or another. It’s a useful place to bring my mum, who can’t walk too far these days, for a relaxing cup of coffee but it would also be a good stop on a hike because it’s near the Trans-Pennine Trail and half a dozen footpaths radiate from the village.
My Papermate Tikky Graphic Rotring pen let me down by blotting the paper; I suspect that the heat of the sun was the cause, causing the ink to expand. But my mum suggested that the blot added a certain something to the drawing. If that’s so then I’ve got an additional feature for my next two drawings as the ink soaked through the next two pages of my sketchbook.
My attempt at ‘scenario 1’ in the ‘action within a drawing’ exercises, chapter 1.
IN THE INTRODUCTION to Drawing Words & Writing Pictures, ‘a definitive course from concept to comic in 15 lessons’, Jessica Abel and Matt Madden do a lot to build up the kind of feeling that I used to get when I enrolled in an evening class; a slight frisson of whoa! – what have I taken on here? combined with the delight of getting started on something fresh and challenging.
Above all, their ambitious scheme of work really doesn’t seem scarily professional and they create a friendly atmosphere; it’s like the creative buzz that you can get finding yourself part of a group of disparate talents in a new class.
Well, I’m too impatient to wait for someone to set up a course here and I’m not going to take up their suggestion of starting my own ‘Nomad’ group, fun though that would be, because I can’t wait to get on with the 15 sessions. But I’ll definitely miss the discussions at the end of each session where everyone puts their work on the wall and I’ll miss the jam comics, where you draw a panel of a strip then pass it on to the next student. I’m intrigued by those.
Working on my own, at my own pace, I’m what Abel and Madden call a Ronin, named after the masterless samurai who roamed around feudal Japan. That’s so cool!
Defining “Comics”
In discussing the definition of ‘this thing we call comics’, they point out that it’s not tied to a genre, such as superheroes or manga, they see comics as:
‘. . . a medium, just like “film” or “painting.” You don’t think film necessarily means movies about gangsters or cowboys, do you? Or that painting always depicts realistic landscapes? Film, painting, and other media are ways to express ideas—any you like. Comics is like that too. It’s a container for ideas.’
Action within a drawing
The exercises start not with a comic strip but with a single panel and the aim in the first ‘drawing time’ session is to depict five specific sorts of action. I enjoy these little problems and I feel that it’s good for me to do something different and work a) straight from my imagination rather than from referenceand b)in pencil (and they allow you to use an eraser too, so don’t panic).
In my work as an illustrator I’m invariably up against some kind of deadline, so I never have the time that I’d really like to be playful or inventive, also I’m always working for print and I generally go for pen and ink to produce crisply printable linework or, if it’s colour, pen and watercolour, again using the pen to give a bit of definition in print. I’ve hardly if ever used pencil – it can go a bit grey and smudgy in half tone reproduction – but now I’ve got an excuse to use it and I’m finding it so relaxing.
I’m working on office paper as they suggest, so there’s no feeling that I’m going to ‘spoil’ a sketchbook with a duff drawing.
I the freedom of knowing that what I draw doesn’t have any significance beyond the exercise.
Runner
I started the running figure in what I’d call a cartoon style (above, left) and soon got into thinking what props would I add to emphasise the action – a billowing coat, hat coming off his head. Then I thought this isn’t an exercise in using props or building a character nor am I obliged to draw in a slightly unfamiliar ‘comic’ style.
I find the concept of comics being simply a medium for expressing ideas is liberating. I don’t have to start feeling that I’ve got all that baggage of a century or more of comics history to emulate. Here it’s simply the idea of running that I need to focus on.
Speeding Car
Another of the action drawing exercises; ‘a ball falling’.
I say that I’m trying to avoid working in any style but, for this speeding car, I couldn’t help going for some 1930s streamlining, the sort you’d find in Tintin story or in a Goofy cartoon on how not to drive that I remember.
I’ve just finished reading Alan McKenzie’sHow to Draw & Sell Comic Strips. He’s a professional with years of experience, so his book is full of practical advice, the low-down on how the business works and the nuts and bolts of putting together a comic (he edits, or did edit at the time of writing, the British science fiction comic 2000AD). But compare his advice on drawing cars:
‘Drawing cars convincingly is where many artists fall down. Readers are likely to be very familiar with what cars look like, so you better make sure you use good reference.’
with Abel and Madden’s more encouraging:
‘If you don’t know how to draw a realistic Porsche, just draw a rectangular shape with a few circles under it: instant car!’
Exercise 4; ‘a person staggering’.
The latter approach isn’t going to get you a contract to draw the next instalment of Spiderman but I know which of those gets me itching to pick up my pencil and have fun.
Links
Jessica Abel & Matt Madden’sDrawing Words & Writing Pictures website (lots of additional resources here, if you’re tackling the course in the book)
Drag your ‘panels’ layer to the top of the pile in the Layer Palette (right) and, as you can see by comparing the two stages above, it now masks any stray lines between the panels, leaving white spaces between them. When you start inking, any stray lines that go over the panel edges will also be masked.
