The gallery of sketchbook pages that I posted the other day reminded me of a comic strip. Haven’t worked out the story yet but the chair reminds me of a Sherlock Holmes story . . .
Winter Sketches Comic
Tag: comic
Colour: Flat or Fuzzy?
Adding flat tone, texture and colour: as this is destined for an A5 sized page, flat tone might work better than subtle effects, but for now I’m leaving these frames as they are. If any one of them stands out as looking out of place on the final spread I can go back to it.
Bilberry Inks
I’m at the inking stage, drawing with my Apple Pencil on the iPad Pro, using the ‘Real G-Pen’ in Clip Studio Paint for images and lettering. I’m trying different styles, so I’ve gone from a cartoony approach in panel 2 to something a bit freer and messier in panel 3. I’ll decide which I like when I see the final coloured version.
Comics made ridiculously simple
The title of this self-explanatory experiment is a tribute to Miles Kington’s Nature Made Ridculously Simple, which might be due for a reprint.
Mr Darwin Welcome
‘Mr Darwin Welcome. Delighted you have come to Yorkshire’ is the opening caption, spoken by Charles Waterton from the top branches of an elm tree to Darwin, then in his mid-thirties, midway between the voyage of The Beagle and the publication of The Origin of Species.
It’s a complex double-page spread but you’ve got to start somewhere so this very rough rough suggests how we can slot in the main aspects of a tour of Waterton’s sanctuary for wildlife at Walton Park. You could really extend this one tour into a twelve page comic story in its own right but that’s all the space we have for the last forty years of Waterton’s life.
I would so like to have heard a discussion between Darwin and Waterton about the Nondescript, Waterton’s enigmatic ape-man creation. Did it give Darwin the idea for his Descent of Man?!
And here’s another Darwin/Waterton which regrettably we’re unable to follow up in this brief comic strip biography. Here’s Darwin recalling his medical student days in Edinburgh;
‘I heard Audubon deliver some interesting discourses on the habits of North American birds, sneering somewhat unjustly at Waterton. By the way, a negro lived in Edinburgh, who had travelled with Waterton and gained his livelihood by stuffing birds, which he did excellently; he gave me lessons for payments, and I used often to go sit with him for he was a very pleasant and intelligent man.’
Charles Darwin, Autobiography
Also in Darwin’s autobiography there’s a passage which echoes Charles Waterton’s childhood. Darwin recalls; ‘To my deep mortification my father once said to me “You care for nothing but, shooting, dogs and rat catching and you will be a disgrace to yourself and all your family.”‘
He and Waterton had so much in common!
Rough Stuff
At last, I’ve had a look through the script for the Charles Waterton comic and I’m onto the first pencil roughs stage, quickly going through the scenes doing what in the theatre would be called blocking in; planning the movement of characters. Even with something as chaotic as a punch-up with poachers I don’t want to keep changing the point of view too much so that, for instance, the character on the left is inexplicably on the right in the next frame. Based on a true incident recalled by Charles Waterton, this near fatal fracas ends up with a touch of Laurel and Hardy slapstick because, Waterton tells us, the poacher ran away with his hat and he ended up with the poacher’s.
Despite having read the Dummies book and watching several video tutorials, I’m still struggling to get up to speed with Manga Studio EX4 but at least it is easy to draw up the panels to see how much action I need to fit onto each page. I might very well draw the panels by hand in the final artwork, I haven’t decided on that yet, but at this stage I’m happy to have a grid to work in. Obviously I wouldn’t go for such thick ruled borders alongside my pen and ink drawings.
I can see the advantage of getting friends in to choreograph the fight and take reference photographs but at the moment fast pencil sketches, getting the gist of the action, are all that I need.
Blast Off!
‘WE HAVE ignition!’ . . .
I’ve been eager to get back to my Drawing Words & Writing Pictures tutorials but other commitments intervened however here I am with a – shh!, don’t tell anybody – free weekend so I’m resuming with the chapter 3 tutorial The wrong planet, an activity devised by Pahl Hluchan.
I’m starting by illustrating their suggested five panel story. Each panel is drawn on a 3 x 3 inch square of cartridge paper to which I’ll add extra panels to pad out the action and extra gags if I can think of any, then subtract panels to see how few panels my extended story can be whittled down to.
Post-it Panels
A three inch square of cartridge is a fiddly piece of paper to draw on; the tutorial recommends using post-it notes which sounds a better idea as they’d stay put as you work on them, but I hadn’t got any, so I’ve cut down some 120 gsm Canson cartridge which is a pleasanter surface to work on than the scrap paper that I usually grab for tutorials.
The panels need to be separate for the editing process. This is intended to be a group exercise where you’d mix and match each other’s artwork, sticking the post-it notes on the wall, but I’m going for the one-man version, for the kind of student that the authors refer to as a Ronin, a Ronin being, as I mentioned back in the summer, a freelance samurai who wandered around feudal Japan, or, in my case, a wilfully reclusive freelance illustrator enjoying being holed up in his studio for the weekend (shortly after I wrote that Barbara and I had to pop out with an urgent book order!).
Lamy Safari
I’m using my Lamy Safari fountain pen which is my current favourite for writing and for relaxed drawing. I’ve been inking in the blacks with a Pentel Brush Pen.
The Safari is filled with a Lamy ink cartridge. I haven’t tried it with waterproof Noodler’s ink.
Link; Drawing Words & Writing Pictures by Jessica Abel and Matt Madden
Cartoon Course
I came across The Professional Step-by-Step Guide to Cartooning by Ivan Hissey and Curits Tappenden a couple of weeks ago and after the final push of getting my walks booklet into print, I thought that I deserved a bit of a change, so I’m going to have a few days off to go through some of the practice exercises in the book.
My main thing, of course, is drawing from nature, so why should I be interested in cartooning? This book is a practical introduction to drawing as a way of telling a story or communicating an idea, which is what I try to do in my publications. If drawing from nature was my sole concern, I could just as well present my drawings in isolation – framed on a gallery wall, for example – but invariably I present them as a sequence, along with varying amounts of text.
I’m hoping this book will make me rethink the way that I tell stories and communicate ideas in my publications.
Opposing Black and White
This first exercise calls for fineliner pen (I used a Pilot drawing pen) and black Indian ink applied with a number 3 round brush. Starting it in pencil, I’ve closely followed Ivan Hissey’s step-by-step but I’ve gone for a geological context rather than the darkened room of the original. I like the woodcut style, where you aim to balance the black and white portions of the image, but to get the sharp gouged line of a woodcut calls for some confidence and forward planning when you ink in with the brush. In the places where you can still see my drawing pen line it comes over as too soft and tentative for this style of cartoon.
I look foward to getting a bit more practice . . .