Mister Rogers City Paper Cover

Pittsburgh City Paper came calling last week to see if I’d do another cover for them. As art director/managing editor Lisa Cunningham explained it to me, this cover was going to represent a combination of a few things: the start of Pride Month, the release of an upcoming documentary on beloved Pittsburgher Fred Rogers, and the point at which those two entities intersect — Mister Rogers’ radical history of accepting all types of people and minorities before it was commonplace.

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I didn’t have to do much layout work for this image because Lisa wanted it to echo the feel of a much-later photo of Fred Rogers where he’s shown welcoming friends to the Neighborhood of Make-Believe.

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I did a quick, blue-pencil sketch in Clip Studio to map things out.

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And then I went in with a pencil tool to work out the caricature. Initially, I was going to go over the pencils with a digital inking, but the sense I get from Mister Rogers’ Neighborhood is a very warm, soft, gentle feeling. So I thought I’d leave the pencil work as the final line.

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After that, it’s all about adding color in Clip Studio. Again, I chose tools that might have a softer feel — pastels, colored pencils.

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Initially, the job called only for Mister Rogers and Trolley. But he seemed a little solitary in the Neighborhood of Make Believe, so after handing in the assignment I requested a chance to add in some of my favorite neighbors. It just seemed like a happier scene with everyone in there.

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Of course, I always leave a little extra in the composition because I never know how Lisa’s gonna crop/edit the illustration to fit the needs of the cover text and masthead. I like what she did with it this week, masking around the castle turrets.

For those interested, the City Paper article this cover points to is about how progressive Mister Rogers ideas were for their time. It’s written by Alex McCann and you can read it here. -v

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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

Process: How To Ruin Christmas in Two Easy Steps

Hope you all had a great holiday! Here’s how I ruined my friend’s Christmas.

I got my friend the Kong: Skull Island Blu-Ray. For some, this alone would’ve been enough to ruin a holiday, but he actually likes the movie and so it was an appropriate gift.

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To accompany the disc, I did an ink sketch of the giant gorilla. I used Pitt Artist Pens and Sakura PIGMA brush pens. The paper is that cheesy, yellow craft paper that they gave you in grade school when they didn’t want to waste the good paper. I like it for some projects because it gives the finished art an aged, vintage look and feel.

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The images look dim and yellow because the lighting in my studio at night is dim and yellow. If my friend knew what kind of jeopardy I was putting my eyesight in just for his Christmas present, he’d probably appreciate this gift a lot more.

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So that’s the finished sketch. It doesn’t look half bad. And you might be thinking, “Well that’s a nice drawing! I’m sure that only made Christmas better!” Slow down. Let me tip you off to my “How-To-Ruin-Christmas” process. Like I said, it’s just two easy steps:

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Step One: Use the drawing to wrap the gift on which it is based. This achieves the effect of removing all surprise and wonder from a wrapped gift. As soon as your friend sees the package, he’ll know exactly what his gift is (extra points if you give it to him a few days early, so he’ll just sit and stew about knowing what his gift is, but not be able to open it until Christmas morning).

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Step Two: You might think, “Yeah, you blew the surprise. But at least your friend got a nice drawing!” Not necessarily the case. Because, when you use the drawing as wrapping paper, not only do you end up bending and folding the artwork, but the liberal use of scotch tape makes it virtually impossible to remove the wrapping from the gift without tearing the artwork into pieces. So they don’t really even get the drawing…unless they never unwrap the gift. It’s genius, really.

Anyway, that’s how you do it. Two simple steps and everybody’s angry with you on Christmas morning. Yeah, everybody, because I did it to my other friend who wanted the Wonder Woman movie too.

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UPDATE: Top marks for effort, but despite meticulous care, the Kong sketch was torn during the opening process as predicted.

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Hope you all have a nice new year! -v

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More Politics For The Pittsburgh City Paper

Today the Pittsburgh City Paper puts out their 2017 Election Guide, featuring the Mayoral Race between incumbent Bill Peduto, and challengers Darlene Harris and John Welch.

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And, once again, I’ve been chosen to do caricatures of local politicians for the cover. Oh, politics. At least you afford me the opportunity to draw an elephant once in a while.

But the assignment was for more than just the cover image. This time I also had an interior spot illustration of Mayor Peduto, all gussied up as a circus ringmaster. Here’s some behind-the-scenes steps to getting this illustration from concept to print.

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Normally, doing political caricatures makes my stomach feel like I swallowed a bowl of thumbtacks for lunch. Too much pressure, too many politics. But Peduto is kind of fun to draw, so I didn’t bang my head on the desk too much during this job. First thing’s first: I collected my reference and worked up a sketch.

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Peduto’s a little cartoony to begin with, so it’s not that far a leap from photo to caricature.

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The original brief called for the mayor to be balancing on a rubber ball, like a trained seal. But (CP Art Director) Lisa and I batted it back and forth and decided on one of those pedestals that lions perch on — maybe because he’s cast as ringmaster rather than performer, maybe because it creates the illusion of more stability, maybe it just looks better.

So, the finished sketch gets approved and I move on to inks.

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Digital inks, done in ClipStudio (Manga Studio) with a standard brush.

We also had a brief discussion about color. Traditionally, circuses use the primary colors (red, blue, yellow) and I went with that. But Lisa thought, since it was an election guide, we should go with the good ol’ red, white, and blue. I agreed.

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Once the base colors are in, I start layering in the highlights, shadows, and texture. Here’s a gif that takes you from sketch to finished rendering.

CPElection_07_DorseEven though I’ve done quite a few of these political pieces for the City Paper, these caricatures are always a learning process for me. Sometimes I think I nail the likeness pretty well, sometimes I’m off the mark. But I never set out to mock anyone with the illustration. I just try to highlight predominant features or exaggerate attitude or bearing. Hopefully, it’s all taken in the spirit with which it was doodled. Good, clean fun. -v

Here’s the digital online version of this week’s City Paper, in case you’d like to read it.

Rush Job! City Paper Cover.

Right before the weekend I got an email from Charlie Deitch, Editor at the Pittsburgh City Paper. “I know it’s short notice, but do you have time to do a cover this week?” The answer to this, even if I don’t have time, is always yes. Yes, I do. Because money. And because I could use another portfolio piece. Not to mention the CP staff is great to work with. And, honestly, I kinda’ like the challenge of a rush job. So here’s a quick process breakdown.311_citypaper_digitalcover_sm_vincedorse-copy

Lisa, the art director, wasn’t in the office this week. But vacation be darned, she still managed to scribble her idea for the cover on the back of what looks like some humorous, cat-themed notepaper and get it to me. I hope she won’t mind my posting this, but I thought it’d be fun to show the process of building a cover from start to finish. 311_citypaper_process_dorse_02

That first, rough drawing is really all about getting the idea across. And Lisa’s not the only one who scribbles out wonky doodles in a hurry. Here’s the one I sent Charlie for approval.311_Process_DorseTerrible, right? Still, it’s about getting the idea across. I thought it’d be fun to spin the angle a little and have the girl walking right out toward the viewer, but basically, everything Lisa mentioned in her scribbled notes is here. Approved! Next step, polished pencil sketch.

311_Process_DorseWith these covers, I always begin with the file of the City Paper masthead that I keep handy. It helps me lay out the composition. Here are the polished pencils I sent in to Charlie, done in Clip Studio (Manga Studio) with a basic pencil tool. The brief didn’t indicate “Fall” but the first day of Autumn had just gone by and I thought it’d be appropriate to do a cover with a bunch of warm, Fall colors.

Initially, I was planning to ink over these pencils, like a traditional editorial or comic illustration. But the more I thought about it, the more I felt the image would work better as kind of a softer, storybook illustration. So I left the pencils in as my main lines and started in on the colors. Clock was ticking, too, so not inking over the pencils saved me a little time.

311_CityPaper_process_VinceDorseClip Studio has dozens of brushes I like for this kind of work: chalk brushes, watercolor, airbrush, and plain old flat fill brushes. I used all of those (and more) to start laying in color under my pencils.

311_CityPaper_process_VinceDorseI think most of what you see in this detail was done by various chalk brushes, layered on a little at a time. I enjoyed figuring out different textures (like the hair and sweater), and I’d be lying if I said drawing a nutty squirrel didn’t make this job twice as appealing.

311_CityPaper_process_VinceDorseThe water was done with a couple different airbrush tools in Clip Studio. I wanted the sidewalk to look a little wet and sparsely covered in fallen leaves, so I used a watercolor brush to get a bit of a wash effect on the colors.

311_CityPaper_process_VinceDorseThe manhole cover was textured with a pastel brush and some pencil tools. Same with the hole in the sidewalk, and then I blended it with a watery blender.

311_CityPaper_process_VinceDorseThe thing that took the longest was this tree. It was easy enough laying down colors in the trunk and then blending them, but those leaves! I know I could’ve gone with a red/orange/yellow watercolor wash. And I almost did, because I was under the gun. But once I started painting in the leaves (pencil tool) I really liked the look of them. So I just kept doing it until I was done. I turned in the illustration the next morning and it’s on the stands today! Here’s the finished illo without the cover text:311_CityPaper_process_VinceDorseThis was a really fun job. I got to experiment with some brushes, made the folks at the City Paper happy, and added another amusing illustration to my portfolio. Wins all around! I hope the City Paper considers me for their next rush job. I’m up for it. -v

Here’s a link to the online issue of this week’s City Paper.