Untold Tales of Bigfoot Nominated for Another NCS Reuben!

UToB_ReubenNom3_DorseHere’s some fun news (for me, anyway). Untold Tales of Bigfoot has been nominated by the National Cartoonists Society for a Silver Reuben in the Online Comics: Long Form division. This is Bigfoot and Scout’s third nomination (they won in 2013).

We’ve been buzzing about this here in the cave for the last few days, feeling very honored and grateful. Congratulations to my fellow nominees, John Allison and Ru Xu. Bigfoot and I consider the nomination itself a win, thrilled to be recognized alongside some other very talented creators. Scout, however, really wants the wall plaque and he won’t shut up about it.

Either way, we’ll be having a great time rubbing elbows with all the other cartooning professionals at the 72nd Annual Reuben Awards, May 25th-27th in the City of Brotherly Love, good ol’ Philadelphia, PA! Whether we go home with the bauble or not, it is always a sincere pleasure to spend the weekend hanging out with some of the funniest, creative people I know. -v

For a complete list of the nominees in all the divisions, CLICK HERE!

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Do The Work: Stop swiping other people’s art.

Quick note to aspiring artists and designers. Don’t swipe. Yeah, it’s easy and maybe you can turn a buck or two passing off someone else’s work as your own. But you’re doing a disservice to those people who work hard to put out entertaining content and, maybe more importantly, you’re strangling your own creative flow. Plus it makes you look bad.

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This is far down on my list of things to expend energy on, but back in 2014, I did an ink sketch of the Hatbox Ghost from Disney’s Haunted Mansion. The character’s a favorite of mine, and I wanted to see what he’d look like if I put my personal spin on him. He came out okay, so I posted my process on this site and people seemed to enjoy it.

Since then, I’ve seen this exact design/image presented (without attribution to me) as someone’s cool tattoo, enlarged as someone’s Halloween lawn display, and most recently as a series of poorly-traced prints in someone’s Etsy shop. All presented as those folks’ “original design.”

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Son, just…don’t.

If you really want to make fan art, if you really want to be creative, put some effort into it and make your own. Maybe you can’t draw as well as someone else yet, or maybe you’re creatively blocked at this moment. But honestly, the more you work on it, the more of yourself you put in your work, the more you practice…the better you’ll get.

This fan art thing? It’s just fun for me. I’m hoping not to waste too much time worrying about this stuff. I haven’t built a cottage industry on Etsy or Ebay drawing other people’s characters, but I know that some folks have and that’s maybe as far as they want to go with their art. And that’s cool. As long as it’s their art.

So, tl/dr: do the work. If you didn’t, don’t say that you did. -v

Out and About: Upcoming Shows and Events

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Hey, I’m emerging from the cave for a few upcoming events in the next month or two. Here’s a short list (more to be added):

April 7th & 8th: MoCCA Festival This Weekend in NYC

If you’re in New York this weekend and plan to attend MoCCA (Manhattan’s largest independent comics, cartoon, and animation festival) I will be sitting in at the National Cartoonists Society table on Saturday (3:45 to 7) and Sunday (3:45 to 6). MoCCA is a 2-day event with all kinds of cool stuff, and there will be other cartoonists at the NCS table throughout the weekend. Admission is only $7 a day!

“Held at the luxurious and modern Metropolitan West located on West 46th Street between 11th and 12th Avenues, MoCCA’s host venue will encompass two floors of exhibitor tables, a gallery of original art showcasing the work of special guests, and pop-up cafés throughout the space.” CLICK FOR DETAILS!

May 5th: Free Comic Book Day at Phantom of the Attic, Oakland

I’ve done Free Comic Book Day at this amazing comic shop before and had a blast meeting people, selling books, and doing quick commission sketches. It’s a wonderful shop with a great staff and it’s stocked floor to ceiling with fun. I’ll be sharing a table with Jim Rugg (Street Angel, Afrodisiac) so stop by and say hi. PHANTOM FB PAGE

May 19th & 20th: 3 Rivers Comicon in Pittsburgh

I did this con last year, had a great time, and so I’m doing it again this year. Saturday and Sunday, May 19-20, I’ll be at my own table at 3 Rivers Comicon in Pittsburgh. There’s always a great guest list of talented artists at this con. CLICK FOR DETAILS

I’ll add a few more notable events as the details shore up, but this is a good start for now. Hope to see you out there! -v

Hyperloop! Drawing Faster with Clip Studio Rulers.

Here’s the latest Pittsburgh City Paper cover I was assigned. This used to be the kind of assignment I’d worry over — quick turnaround and lots and lots of lines.

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But since I started penciling and inking in Clip Studio Paint, jobs like this go by lightning-fast thanks to the ruler tools. Lemme show you. Here’s the rough I handed in to Art Director Lisa for approval (drawn onto the template supplied by City Paper):

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I had just a few days to finish it (along with other projects on my board) so I thought I’d start inking over the rough sketch (rather than take the time to do finished pencils).

Inking in all those long, smooth lines used to feel like a lead weight on my shoulders. But the Clip Studio Paint Rulers are just like using a regular ruler on paper — only easier.

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Those magenta lines are the rulers I’ve set up to help me draw the lines of the train and track. Specifically, it’s the Curve Ruler tool, which can be a straight line if you wanted (like a straight-edge ruler) or curved (like a flexible curve or french curve).

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The pen tool will “ride” along the track of the ruler, allowing you to use as much or little pressure as you prefer when you lay down your lines. In that way, the ruler tools allow you to draw expressive, hand-rendered line work while maintaining a precision that’s hard to achieve drawing freehand.

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Buildings no longer give me the cold sweats. I just place and adjust my rulers (those magenta lines) then use them to guide my inking.

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Clip Studio Paint Rulers speed up my process, and that’s key with tight deadlines. Below are the finished inks. You can see I drew beyond the CP template to allow myself (and art director, Lisa) some wiggle room.

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And, finally, here’s a gif that flips between the inks and the final color version. Yeah, there are plenty of things in the illustration that I DIDN’T draw with the ruler tools, but the rulers were invaluable in helping me get it handed in under the deadline without banging my head on the desk over and over. -v

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And, as usual, if you’d like to dive even deeper into this illustration, read the City Paper article about the hyperloop kerfuffle right here, Thanks for stopping by! -v

Up And Away! A Collaborative Art Project

It’s the 1930s. Big City has become a place where greed trumps goodness, a city in desperate need of a hero. A hero like no other. The very first superhero.

Planning The Caper

This year, The Pittsburgh CLO invited members of the Pittsburgh Society of Illustrators to attend rehearsals of the CLO musical Up And Away, as a collaborative effort to produce artwork inspired by the show.

In this post, I’m going to break down my basic illustration process and ramble on a little about the show (because it’s really fun and you should go see it if you can).

UpAndAway_Process_VinceDorse

Assembling The Team

I think there were six of us invited to attend early rehearsals for the show. We were there to get a feel for the show, and then create anything we wanted. Some of us illustrated scenes, some of us did renderings of the rehearsals, some did portraits of the cast. But from the very start, I knew I wanted to create a fictional comic book cover that featured the characters from the superhero-themed musical. Here’s the thumbnail I sketched out during that first rehearsal:

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Clip Studio Paint To The Rescue

I used Clip Studio Paint to set up my image. As usual, the perspective rulers were invaluable in helping me redraw the background architecture over my sketch (the show is set in “Big City”). I used the blue drafting pencil to sketch in characters based on reference sketches I did at rehearsal, and a G-Pen to ink them in. These aren’t caricatures of the cast as much as representations of the archetypes the actors portray in the show.

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About The Show

Up And Away is jam-packed with references to comic book culture. The two brothers (who leave their farm to find adventure in Big City) are Jerry and Joe Jessup (a nod to Superman creators, Siegel and Shuster). There’s a fast-talking lady-reporter, a mysterious billionaire, a tough but doting mother, and a host of costumed kooks running rampant in the city.

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One of the most interesting things about this project was seeing director Marlo Hunter, creators Kevin Hammonds and Kristin Bair, and the cast members hammer the show into shape during rehearsals; changing blocking and choreography, editing scenes, working out the props and stagecraft. Process. It’s fun to watch things unfold, piece by piece, whether it’s an illustration or a comedy-musical.

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Kevin Hammonds (Book and Lyrics) and Kristin Bair (Music) put together a catchy bunch of tunes. I must have heard “New Kind Of Hero” two dozen times that first day. Anyone who’s ever rehearsed a live musical performance knows you’re going to go over and over and over the songs. But that was fine, because when I saw the show opening week, I could practically sing along.

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The performers are fantastic too.  It’s one of those shows that employs a small cast (just five) who have to race through backstage quick-changes to play a series of alternate roles (with those roles sometimes possessing alter-egos themselves).

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And, in keeping with the stripped-down feel of a small cast, Up And Away employs classic, lo-fi stagecraft to achieve its own brand of special effects. Think “standing on one leg and bending at the waist with your arms forward to simulate flying over a collapsible MDF cityscape.” I don’t know how you’re picturing that, but trust me, it works.

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As the little corner box intimates, Up And Away made it’s premiere here in Pittsburgh in January. But it’ll be running at the CLO Cabaret at Theater Square through Sunday, April 22nd. If you’re in Pittsburgh during that time, and you want to spend a fun couple of hours at a musical comedy made for comic fans, try to get tickets.

Art Show And Sale

And, as of this Wednesday, March 14, the Cabaret Gallery will have the Pittsburgh Illustrators’ Up And Away art on display and for sale, with 20% going to the Pittsburgh CLO. I’ll have two pieces there — the comic book cover (signed & numbered prints) and an ink and marker rendering of the villains in the show (based on brief descriptions in an early draft of the script). This was a fun project, a nice way to spend a few weeks with some talented creators and performers, and I got to see a superhero musical for free! Whooooosh! (that was me, flying away, in case you didn’t catch it) -v

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And here, just for fun, the fictional comic book cover:

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Chutz-Pow! One Page, From Script To Print

Recently, I was invited to be part of a fantastic, truly worthwhile comic project called Chutz-Pow! Superheroes of the Holocaust. It’s an anthology series put together by local creators Wayne Wise and Marcel Walker in conjunction with Zach Zafris at the Holocaust Center of Pittsburgh.  The series features a rotating roster of writers and illustrators who recount the tales of holocaust survivors. And in those cases where the survivors are still living, they actively participate in the creative process.

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I’m going to run through the steps of getting a page from script to print, and show what a team effort it can be. And if you know all this stuff already, feel free to skip to the end to find out where you can pick up a copy of Chutz-Pow!

Script

I was asked to illustrate the story of Solange Lebovitz who, as a young girl, hid in plain sight in occupied France, pretending to be a member of a Catholic family. I worked from a script written by Yona Harvey (American poet and assistant professor at University of Pittsburgh), as told to her by Solange. There was a brief period of adjustment for me, getting used to someone else’s storytelling rhythms, but it just took a couple read-throughs to get my bearings and I was good to go.

I’ll show my process here for page three of the story — a good, old-fashioned, nine-panel layout. Yeah, you have to cram a lot of stuff onto one page, but when those nine-panel pages work out, they’re a great storytelling tool. Here’s a shot of the script. Throughout the project, my main focus was to do justice to both Solange’s experiences, and Yona’s literary interpretation of them.

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Pencils

I played it safe with the pencils, doing them digitally in Clip Studio Paint. Easy to rethink and try different ideas on the fly.

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Using the Blue Layout Pencil and various Ruler tools, I was able to pencil all nine panels pretty quickly without worrying about rubbing a hole in Bristol Board with my eraser. But believe me, I erased plenty with the digital eraser.

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Inking

Though I penciled the pages digitally, the vintage time period of this story made me want to go old school and ink it on paper, to have something tangible at the end of the process. It’s something I don’t do too often, and I was a little nervous about fixing mistakes, but I plugged in my lightbox, grabbed the Bristol, and got to work.

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I printed out the blue pencils on 11×17 paper, taped them to the back of my Bristol, and flipped the switch so I could see the pencils through the paper. Now it was ready for inks.

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I used a handful of tools to ink this page. For tech pen work (lines that don’t need too much variation) I use Sakura MICRON Tech Pens and PITT Artist Pens. Both have waterproof ink and lay down a nice, smooth line.

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For lines that need a little finesse, a little more life, I use the Sakura PIGMA Brush Pens. The ink is waterproof, and they make expressive, variable width lines.

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ChutzPow_Process_VinceDorse

The panel borders took me a little time to figure out. I tried using the Pigma GRAPHIC 1 pen (which has a nice, fat nib point) but it wasn’t quite fat enough. Then I tried the Pigma GRAPHIC 2 pen (which has more of a chisel tip). It was big enough, but running it along the ruler felt weird. In the end I used a combination of the two to draw the outline of the borders and fill them in. So I’m still working on finding my method for this step. If you’ve got a method you prefer for inking those thick panel borders, feel free to leave it in the comments.

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And to fix the errors, I use both Pro-White (opaque white watercolor) and a Sakura Gelly Roll White Gel Pen. Used it liberally, I might add, because there’s no undo function on paper. I’m using the medium point Gelly Roll in the photo here, but I believe they have both bold and fine point options as well, I just haven’t been able to find them locally.

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ChutzPow_Process_VinceDorse

And the page progressed like that, one panel at a time, — ink, fix errors, next panel — until it was done.

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ChutzPow_Process_VinceDorse

ChutzPow_Process_VinceDorse

LETTERING

The lettering on this project was all handled by my friend, Marcel Walker.  He scanned in my original pages, and lettered them in Adobe Illustrator. When I work on my Bigfoot comic, I do everything from script to art to letters. And even knowing exactly what I want, I end up tweaking artwork and nudging lettering up until the time I post it online (sometimes, even after) so I know it could not have been a breeze for Marcel to place the lettering into a finished, static page. Nevertheless, he did a great job.

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Feel free to compare Yona’s original script and my illustrations to see how it all came together with Marcel’s lettering.

IN PRINT

And that’s the finished product. Volume Three of Chutz-Pow! is out now and available at Phantom of the Attic, Oakland and WildCard in Lawrenceville. And I believe the Holocaust Center of Pittsburgh will also be selling them on their website within the next week.

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There was a great turnout at the Holocaust Center for the debut of Chutz-Pow! Volume Three. The stack of books dwindled as the afternoon wore on, and few guests had the writers and artists sign their copies. And I got to meet Yona Harvey for the first time! Turns out we were mutually in awe of each other’s work on the story.

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ChutzPow_Process_VinceDorse

Pages On Display

In case you’re in town and want to see some of the pages, full-size prints of the artwork from the first two volumes are hanging at the Holocaust Center of Pittsburgh until May 31st. And the original pages from all the artists in Volume Three: The Young Survivors  are hanging at the American Jewish Museum at the Jewish Community Center, and will be there until April 20th.

Stop by either exhibit to see some nice artwork created for a good cause. -v

Chutz-Pow, The Art of Resistance Opening

I will be at the Holocaust Center of Pittsburgh this Sunday, February 11th, to celebrate the opening of The Art of Resistance — original comic pages from the first two volumes of Chutz-Pow, as well as the release of the all-new Chutz-Pow Volume 3, which I worked on.

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Chutz-Pow: Superheroes of the Holocaust is a comic book series produced right here in Pittsburgh, in conjunction with the Holocaust Center of Pittsburgh. These books tell the stories of survivors of the Holocaust. The third and latest volume focuses on survivors who were just children when World War 2 changed their lives.

A bunch of my cartoonist friends have work in this volume (Mark Zingarelli, Howard Bender, Marcel Walker, Wayne Wise, Loran Skinkis) and most of them will be there at the opening. Tickets at the door are a very reasonable $5. Here’s the rest of the details on the event. Stop by to see the artwork from the first two volumes, pick up copies of all three books, and talk to some of the writers and illustrators who worked on all three books.