Mickey Mouse Birthday Card

Wow, it’s been a while since I posted. I’ve been prepping and shipping my book out to my Kickstarter backers, so I haven’t had time for much else. But I just inked up a quick Mickey Mouse Birthday Card for a friend and thought I’d snap some photos during the process just to have something to post.

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This was the initial rough sketch. I tweaked it a little in Photoshop and printed it to size so I could trace it on the lightbox.

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The pencils, up close. I darkened them a little for the blog so they’d be easier to see, but I generally try to work pretty light (4H pencils) so the rough lines aren’t so visible in the finished piece.

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I’m inking with the Sakura Pigma Brush Pens again. Working on larger areas (like Mickey’s ear) I get to use that massive Bold Brush.

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Most of the figure outline is done with the Fine Brush. It really does have a pretty dynamic range of widths. In some cases I might use the Medium Brush too, but mine’s getting a little chewed up so I didn’t want to risk using it until I picked up a new one.

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This is the finished piece. 8×10 on Bristol. Just a fun birthday illustration. I scan this in and resize it to fit the card template I created in Photoshop. And then…

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Here’s the finished product! All ready to stamp and send. Hope everybody has a Happy New Year! -v

I’m drawing Haunted Mansion Ghosts for Inktober 2016

Every October people all over the world people celebrate “Inktober” by getting out their ink pens, brushes, and markers and attempting to do a new, ink drawing every day of the month.

Sometimes it’s random subject matter, sometimes people try to follow a theme. This year, I picked “The Haunted Mansion” as my theme and I’m trying to draw a different Disney ghost every day. Not sure if I’ll get one done every single day, but if you want to follow along (and see other Inktober drawings that other illustrators and cartoonists are doing) check out the #Inktober2016 hashtag on Twitter and Instagram.

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As I make my way through Inktober, I’ll try to keep updating this post. Each happy haunt is done the same way: pencil sketch light-boxed onto Bristol board, then inked with Sakura brush pens and Pitt artist pens. Oh! And I’m trying to draw the ghosts in the order you encounter them in the Haunted Mansion. I’ll also try to caption them with the names they’ve been given, if any (though, there seem to be conflicting views on what certain ghosts are named, depending on what source you go to). Click to embiggen. Happy Halloween! -v

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Alexander Nitrokoff

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Daisy De La Cruz / Sally Slater

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Quicksand Trio / The Hobbs’

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Abigale Pateclever / Constance Hatchaway

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The Sea Captain / Capt. Culpepper Clyne

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Medusa

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The Hanging Man

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Vampire

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Jack the Ripper

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Madame Leota

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Birthday Ghost

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Birthday Guest

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Ballroom Dancers

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Passenger in Hearse

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The Organist

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The Duelists

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The Bride

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The Caretaker

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Pop-Up Ghosts

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Skeleton Hound

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Mummy

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Hard-of=Hearing Ghost

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Lady Opera Singer

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Opera Singer Guy

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The Executioner

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The Headless Knight

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Gus (Hitchhiking Ghohst)

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Ezra (Hitchhiking Ghost)

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Phineas (Hitchhiking Ghost)

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The Hatbox Ghost

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Little Leota

Untold Tales of Bigfoot/Star Wars Mash-Up Commision

Just finished up a commission for a client who wanted me to mix Star Wars with some characters from my Untold Tales of Bigfoot comic – and I had a blast! Here’s the basic brief: B/W illustration, Princess Leia’s escaping from Jabba’s palace with Chewbacca and Han Solo. But in this case, Chewbacca’s being played by my Bigfoot character, and Han is Scout… and he’s frozen in carbonite. A brilliant idea and I was happy to work on it.

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Aside from the idea being crazy fun, another reason I was excited to work on this was because I wanted to try out some new brushes I recently picked up. Of course I used my Faber Castell Pitt Artist Pens. They’re an old stand-by that are part of my regular workflow. But I also tried these Sakura Pigma Professional Brush Pens. I saw them in an art store recently and thought I’d give ’em a try.

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But before we get to the inking, I had to come up with a composition. I sketched this pretty quickly (the scene kind of writes itself) and got approval.

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Luckily, the client trusted me even though all I’d sent him was this chicken scratch. And when I had a chance to take a second look at it, I thought it might be a stronger piece if I centered the whole composition. So I lightboxed the doodle and penciled something a little more polished.

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The sketch line’s a little light right now and hard to see, but it’ll all be much clearer when I slap some ink down on it. Time to get out those new pens!

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You can see these Pigma’s come in 3 sizes, Fine, Medium, and Bold. The tips are flexible and have a great feel to them. The ink is supposed to be archival and waterproof. And – as you’ll see later in the post – they held up very well to toning with Copic Markers and I didn’t even have to wait overnight to make sure the ink was dry.

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In this image where I’m inking Leia’s leg, I’m using the Fine tip Pigma. I wasn’t sure what kind of line it would lay down (this being my first time using the brushes), and I was nervous about making it too thick. As it turns out, I went back over the fine line with the Medium Pigma and got a good weight with a nice variation.

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One of the things you can tell up close is that I never learned to hold a pencil correctly. Busted. But you can also see that I’m using the Medium Pigma for some medium detail work. I think I switched to the Bold Pigma soon after this when I felt more confident with the way the ink was laying down. All three brush tips have great control and a nice, bouncy feel.

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The inks aren’t finished yet in this image above (still have to add Bigfoot’s hatching) but you get a pretty good idea of the line weights achievable with these three Pigma brushes. Because Leia’s face was pretty tiny (about the size of a nickel on the paper) I wasn’t sure I could ink her features with the fine brush without screwing it up, so I opted for one of the Pitt tech pens. It gives you a slightly less organic line, but it’s better than a giant black smudge where her nose should be.

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The original commission was for linework only. Just black inks. But as I was working on it, I saw some opportunity to drop in some accents with grey Copic Markers. Nothing crazy, just a little toning here and there. I checked with the client and got the okay. Scans really show the difference between the cool greys of the stone wall and the warm greys in the skin.

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And like I said, I went in with the Copics no more than an hour after I’d finished the last ink line and I didn’t get a single smudge or smear. So Sakura Pigma, as far as I can tell, delivers on their promise to be waterproof. Are they archival? Only time will tell. But if you’re looking to experiment with a new brush pen, I’d definitely give the Pigmas a try. -v

Quick as a Flash! A speedy marker sketch process.

Hey everybody! I haven’t posted in a bit because I’ve been getting the Kickstarter for my graphic novel ready (it launches Tuesday, May 24th). But I was just fiddling around with some grey Copic markers and thought I’d snap a few pictures and run through the process just for the heck of it. (The Flash ©DC Comics, Silver Age Flash design by Carmine Infantino)

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I wanted to draw The Flash. I love the original, winged-helmet, Jay Garrick-Flash. And I’m a big fan of the re-design they did on the CW TV show. But my first Flash was Infantino’s Silver Age re-design, and my version sticks fairly close to that. So I sketched out a rough, then used a lightbox to clean up the lines a little. That’s smooth Bristol paper. It’s a little dim….not as bright white as some others, but still pretty bright. Most of the yellowing in these photos is from my terrible phone camera. : )

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I used the Pentel Pocket Brush Pen to ink most of this. It has those long, flexible bristles that allow for a nice variation in line weight. But it’s got some play to it, so you have to have a steady hand. Mine’s not as steady as I’d like, so I chickened out and used a Pitt pen for the fine features in the face.

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Another thing about the Pocket Brush is that ink takes a while to dry. Especially if there are large black areas (like under his left arm). So I finished the inking and let it dry before laying down the markers.

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I’m just a newbie with the Copic markers, but I love the smooth flow of the tones. I just wanted a greyscale image, so I used an array of Copic greys and a clear blender. The blender is nice to have in a pinch, but I find that if you lay your colors down quickly enough, they start the blending on their own.

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You can see in the is last detail, even with the smooth Bristol, you still get a good deal of texture from the paper. There were a few spots where, even after hours of drying time, the Copics re-hydrated the ink lines and I had to use the blender to work in the smudges. Overall, I enjoy working pen-to-paper every so often. It keeps you sharp, and this was good practice. -v

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Untold Tales of Bigfoot / Bone Mash-Up

Comic-creators mini-group threw out “Bone by Jeff Smith” for a prompt last week. I figured since Smith’s Bone and my Untold Tales of Bigfoot both take place largely in a deep forest, I’d imagine a crossover meeting between the characters.
Untold Tales of Bigfoot / Bone mashupThis was inked in Manga Studio. I left it black&white since Bone was originally published in black&white. Below are the original pencils. It’s the first time I’ve ever tried drawing Bone. He was fun. And he fit seamlessly with Scout in this forest scene.-v
Untold Tales of Bigfoot / Bone mash-up pencils

 

The Haunted Forest

Flying monkey attack! A black-and-white accompaniment to my Yellow Brick Road illustration.

The Shroud (b/w)

A black-and-white version of my Shroud illustration.