Burnt Books

sketches

It might be 50 years ago since Bill’s homemade stereo spontaneously combusted, singeing my books and diaries on the shelf above but, as he’s my brother I’ve never let him forget it!

I still remember the thrill of first hearing familiar records in stereo for the first time. The track I particularly remember was ‘The Shirt Event from Olympia’ by the Bonzo Dog Band. Going from mono to stereo was the equivalent of switching from 2D to 3D. The surprise was that we could tap into this sophisticated technology with Bill’s concoction of bits of old amps from a record player and radio wired together and held in place with tacks hammered into an offcut of plywood. Initially the speakers weren’t even in boxes, they were just lying there on the floor next to makeshift amplifier.

We now know that attaching a transformer to a piece of wood isn’t a good idea.

charred book

Here’s just one of the casualties amongst our treasured records, books and diaries on the metal shelf unit above. I got our local printer Mr Chappell to trim off the worst of the charred edges from my copy of Coyler & Hammond’s Flies of the British Isles. Still readable but hardly a pleasure to use, so naturally when I spotted a pristine copy amongst the secondhand books in the cafe at the National Trust’s Wentworth Castle I went for it.

Nor could I resist Guide to Microlife by Rainis and Russell, Animals under logs and stones by Wheater and Read and Small Freshwater Creatures by Olsen, Sunesen and Pedersen.

Screen Mirroring

rhododendron stems

Clip Studio Paint on the iPad: experimenting with adding colour.

screen mirroring
Screen mirroring in Photoshop: iMac Retina, iPad Pro, Apple Pencil and Sketchboard Pro.
rhododendron

I’m also trying screen mirroring so that if I’m working in, for example, Photoshop on my iMac, and I’ve got something intricate to do, like erasing background texture on a scan of a sketchbook page, I can switch over to working with the Apple Pencil on my iPad.

It would be possible to do a whole drawing this way but with Adobe Fresco, Clip Studio Paint and even a version of Photoshop on the iPad there’s no need to, I can draw directly.

I haven’t noticed any delay when I’m drawing using screen mirroring; the marks appear in real time.

Graphics Pad

For years I’ve used as Wacom Intuos 4 graphics pad for erasing or drawing in Photoshop on the iMac but with the latest Apple operating system, Monterey, Wacom no longer support that model. Working on the iPad should be more flexible, once I’ve learned the ins and outs of it, as I can see the iMac screen on the iPad. The graphics pad was blank, so I got used to drawing on the desktop and seeing the results appear on the iMac.

Handscape

hand sketch

In the waiting room at Specsavers and couldn’t draw anyone without them spotting me so it was back to drawing my hand in my A6 landscape sketchbook.

hand iPad sketches
iPad drawing in Clip Studio Paint

I was in for micro suction wax removal so I’ve done a few sessions in preparation lying on the sofa with olive oil in my ear. That’s an awkward angle for drawing and I realise that the Paperlike screen protector has lost its texture after eight months of use so my Apple Pencil was slipping about as I drew, so it’s time to renew it using the spare sheet that came in the pack.

hand sketches
iPad drawing in Clip Studio Paint

I’ve never replaced the drawing tip of my Apple Pencil so that’s something worth trying to give more traction and feedback from the drawing surface.

Slim Sim

Missing out on the line drawing stage and going straight to areas of tone and colour, using the Lasso Fill tool in Clip Studio Paint. Foot drawn from life. The man in the hat reminds me of a slim version of Alastair Sim.

Old Hand

hands

I have to admit that I’ve cheated, these iPad drawings are both of my left hand but I flipped the hand holding the pen horizontally in Photoshop.

Drawn with an Apple Pencil in Clip Studio Paint using the ‘Textured pen’ and ‘Watery ink’ brush. I had the iPad fixed on my Sketchboard Pro drawing board.

Tones

cloth hat

I’m reading Marcos Mateu-Mestre’s Framed Drawing Techniques and trying his suggestions for using tone. This cloth hat lying on my desk was drawn with an Apple Pencil on my iPad Pro in areas of tone only – no initial line drawing – using the Lasso Fill tool in Clip Studio Paint.

potatoes

Previously, as in this drawing of chitted potatoes, I’ve gone for a linocut or silkscreen printing effect using areas of solid tone, set to 100% opacity.

tone swatches

But following Mateu-Mestre’s method in his chapter on The Gray Scale, these tone swatches are actually all based on pure black.

Tone number one really is black but it was applied with a Clip Studio brush set to 70% opacity. The resulting grey was then sampled with the eyedropper tool and painted as swatch 2 but again at 70% opacity, making it that bit lighter and so on, grading the tones almost to pure white.

Villagers

villagers

In Framed Ink 2, Marcos Mateu-Mestre suggests that the shape of the frame in a comic can help tell the story. This Clip Studio Paint sketch is a rough idea for the scene from The Book of Were-Wolves where the traveller, Sabine Baring-Gould, arrives at a small village in search of a pony and trap and meets the local curate and the village mayor.

villagers

I’ve drawn them as full figure character sketches but for this scene it’s the reaction of Monsieur le CurĂ© and M. le Maire to a mysterious traveller that we’re interested in so we could got into letterbox format and make the traveller more mysterious by only including part of the figure.

mayor and curate
Monsieur le Maire

When it comes to the discussion between M. le CurĂ© and M. le Maire about how to deal with the traveller’s request I could go for a square head to head panel of just the two of them.

And when we meet Monsier le Maire for the first time he might merit a panel to himself, with a vertical format to show the full figure.

Inky Folk

figures
Real G-pen and Wet Wash brush in Clip Studio Paint
comic script
Comic script template in Scrivener

Inspired by Marcos Mateu-Mestre’s Framed Ink, I’m going for a livelier, inkier look for my comic based on Sabine Baring-Gould’s The Book of Were-Wolves.

Rather than launch straight into drawing, I’m starting with a script, using Antony Johnson’s Comic Script Format template in Scrivener.

I’ve used Scrivener for writing articles for years, but always using a plain ‘Basic’ template, which isn’t very different to using a standard Microsoft Word document but Scrivener can do a lot more than that. The Comic Script Format makes it more like using screenwriting software, such as Final Draft.