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

Copic Marker Wonder Woman (Yeah, I gave her straps to hold up her top…what of it?!)

First, some good news: My Kickstarter is 100% funded. But I have another week to go to hit some stretch goals. I’m hoping one way of doing that is by people choosing the “private commission” rewards where I’ll draw any figure you’d like (black/white or color). Since I’ve been working on some examples of those commissions, I thought I’d post some process shots of some of them here.

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So here’s ol’ Wonder Woman. I did this line drawing on Bristol Board (smooth) with a Pentel Pocket Brush Pen and some Pitt Artist Pens. The brush pen is great for those thick/thin lines, but my hand is way too shaky to attempt tiny details with it yet. So the Pitt pens come in handy for that.

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I started with the legs. Not because I felt really confident about the colors I chose, but I figured I could douse them in shadows if I really screwed up. But they’re not too bad. I think I used four different colors (E colors in the Copic line of markers) and a blender to smooth things out. If I’d had a few more dollars in my wallet, I might have picked up some light pinks and blues and really gone crazy, but these few light-peachy colors get the point across.

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Real quick: There are a handful of different styles of Copic markers. I used to use the squarish, Copic Original style (on the bottom in the photo). They have a chisel tip end and a small, pointed nib. Perfectly good markers. But lately, I’ve grown accustomed to the Copic Sketch Markers (on top in the photo). They’ve got a chisel tip as well, but their opposite side is a really nice, long, felt brush that has a lot of give (for nice weight variation) with a point sharp enough for detail work. It’s entirely up to you, though. So try out a few different styles. Different tools for different jobs.

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Ever stand in front of a rack of Copics and try to pick colors and stay on budget? It’s nuts. There were about 50 blues that were calling to me. In the end, I thought these three could do the job. I think these were Light Blue, Cyan Blue, and Peacock. Don’t quote me, but you get the idea. Three values of blue, and I dragged a toner grey over some of the skirt to dull/darken it.

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Here I’ve started in with the reds. R22, R29, and R59 I think.Basically a pinkish highlight, a bold, bright midtone, and a subdued, darker value. There was a lot of blending (and these reds seemed really liquid…not sure if it was just the three I happened to buy, or if they’re always like that) so I didn’t have to use a colorless blender with them. They self-blended for the most part. Some of the highlights you see are either blank paper or, when I needed it, white gel pen to add highlights. Speaking of which…

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Here’s a close-up of her headband. I wanted some variation in the colors (not just flat yellow and red) so there’s a bit of yellow, orange, and brown in there to make the gold. And in that bottom image you can see that I went in afterward with a white gel pen to add highlights. I’m always looking to try new white inks, so if you’ve used one you love, let me know about it in the comments and I’ll probably try it out. In this case, I used the pen below.

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This is a Gelly Roll 08 White Gel Pen by Sakura. Like I said, I’ve tried a lot of white inks, and this one, so far, is pretty smooth, covers well, and doesn’t dry into a hard, white brick of useless ink inside the pen too quickly.

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And here’s the final full-color Wonder Woman. I figured, with a metal chestplate like that, she’d probably need some sort of support straps to avoid a wardrobe malfunction during battle. It just feels more secure. Ladies? Agree? I’d have put tough, leather leggings on her too but that’d cause a riot. As it stands, I think I covered her in enough armor to make it believable,  while still doing that ancient-Greek-warrior-aesthetic justice.

Hope you got something out of that. Or at least had fun reading through it. And hey, if you wanna show me your undying appreciation, feel free to head over to my Kickstarter before next Thursday the 23rd and drop a couple bucks in the pot. Every little bit helps. Have a great weekend! -v

Shameless Plug: My Kickstarter is Live!

If you’ve been coming to this blog to see my process work (thank you) you may know I also work on an award-winning webcomic called Untold Tales of Bigfoot. Well, I just launched a Kickstarter Campaign to get that comic into print, and I’d be remiss if I didn’t post that info here.

If you have the time, go check out the Kickstarter. Untold tales of Bigfoot is an all-ages adventure about a lost dog and a lonesome bigfoot, and the theme revolves around the importance of friendship and family (but Bigfoot also wrestles with a mountain lion and stuff like that). Thanks for listening to my pitch. : )

Untold Tales of Bigfoot Kickstarter Page

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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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Playing Politics: Process for my latest editorial assignment

Here’s the thing about editorial illustrations during this particular election cycle: no matter which direction the job leans, left or right, you risk upsetting somebody. Depending on how you choose to look at it, this cover could go either way. I suppose that means I run the risk of upsetting everybody.DunkTank_CityPaper_VinceDorseStill, when Lisa, art director at the Pittsburgh City Paper, offered me this assignment, I took the job despite not being very political. Not because I enjoy upsetting people, but because Lisa’s great to work with and this cover seemed like a fun challenge.

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It was a simple brief: Sanders and Clinton hurling baseballs at Trump in an old-fashioned carnival dunk tank, while he hurls insults at them. The concept was simple, but I was running into a roadblock. Sanders and Clinton are both right-handed (I researched it to make sure) so I was having trouble getting the angles right while still showing their faces. Nobody pays for a caricature of the back of someone’s head.DunkTank_CityPaper_VinceDorseI suggested a slightly different Whack-A-Mole concept to avoid the issue and Lisa basically said, Vince, stop goofing off and make the dunk tank work! See? I was already upsetting someone! She sent back an altered version of my rough with Hillary rotated to make her point. She was right. I could make this work if I really tried.

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Lemme tell you something else about editorial illustrations that should be fairly obvious: You’re often called upon to do caricatures of notable people. Thing of it is…I’m not a caricature artist. It’s not my main gig (though, come to think of it, I’ve done nine or ten caricatures for the City Paper and they’re still coming back for more…so maybe I’m doing something right).caricature_heads_dorseI posted these sketches in a public forum where a few cartoonist friends hang out and got a lot of positive responses. Even Mad Magazine caricature illustrator, Tom Richmond, chimed in to offer his two cents. I took in everyone’s feedback, made some adjustments, got close enough for horseshoes, and moved on to the next stage.

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Here’s my finished pencils with the inks started. I used the Layer Color option to turn my pencils into a blue-line sketch, then inked on the layer above with a standard brush.

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This is a series of close-ups of Bernie from pencils to inks to flats to final colors. All of it done in MangaStudio (or ClipStudioPaint, depending on what you’re used to calling it).

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Pencils. Done on paper and scanned in.

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Inks. I think this was the G-Pen brush.

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Flats. These are just there to help separate the colors, no finesse needed. I think I put them in with a no-frills, flat, round inking brush.

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Final colors. Most of this was done with a chalk brush, or pastel. I like the textured feel of it. Maybe some airbrush for soft highlights too.

DunkTank_CityPaper_VinceDorseThese insults in the word balloons?  That’s an idea I brought to the table. I thought it’d be fun to have Trump bellowing some typical zingers (and to zing myself in the process). The art director ran it by the editor and I got the green light…they even wanted him to zing their election guide!  Assignments are more fun when you get to bounce ideas back and forth with the client.

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untitledSo here is the final CityPaper cover. I was surprised to see my “insult balloons” were the only text on the cover! And there was a bonus! We had a little extra lead time, so Lisa asked if I’d like to do an interior spot illustration of a wet, angry Trump who just got dumped in the drink. In for a penny, in for a pound, I guess…

DunkTank_CityPaper_VinceDorseI ran a few different poses by Lisa, (this trio of sketches makes it look like he’s doing a little dance) any of which she said she’d be fine with. I ended up going with one that was less “Hulk Smash!” and more “angry tantrum” because it fit the tone of the assignment better. DunkTank_DampTrumpSpot_CityPaper_VinceDorseI’ll end with this final, damp Trump (inks and full color). This editorial assignment was probably one of my favorites I’ve drawn for the City Paper despite the subject matter being a bit out of my comfort zone. I just found out Donald Trump’s gonna be in town today, the day this City Paper cover comes out. I sure hope this doesn’t upset him. -v

Coming Soon: Giant Sea Monster!

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This is a quick sneak-peek of a project I’m working on with some comic-creator friends. Just an informal art-jam kind of thing. We’re supposed to wrap up by the end of the month, maybe a little while after that. But when we do, I’ll be sure to post my process on this monstrous page. I just wanted to give you a little preview because I’ve been having a lot of fun working on it and I wanted to share. -v

Medibang Update: Some New Brushes!

So, if you ended up downloading the free Medibang Paint app on my recommendation, or if you owned it already, you might have noticed something in your welcome screen when you opened the program over the weekend.Medibang_newbrushes00

11 New brushes? Yup. You might have even gotten an email about the update that led you to this image of those new brushes. Look at all these crazy brushes! Geometric brushes, natural media brushes, effects brushes… Amazing!Medibang_newbrushes01

But where are they? Your brush palette still looks the same as it always did. Is someone pulling your leg? Nope. You just gotta know where to find those brushes.

First thing you gotta do is click on that little cloud/download button at the bottom of your brushes palette.Medibang_newbrushes02

 

Wow! Look at all these brushes sitting around in the cloud just waiting for you to choose them! To tell you the truth, there are more brushes up in that cloud than I was aware of. Up until I got that email alerting me of the new brushes, I hadn’t even noticed that ever-growing list of updates in the Welcome screen.  Medibang’s still a learning experience for me, so it was interesting to see how many resources I’ve had access too at the touch of a button.Medibang_newbrushes03

So, you can scroll through the list and find the brushes you might want to try — I wanted to see what that Cloud 2 brush was all about — click on the brush, then hit OK.Medibang_newbrushes04

Now, if you go to your brushes palette, you can see the new brush you downloaded right there at the bottom of the list. Click on it and go nuts.Medibang_newbrushes05

You might also want to go back through the list of updates to see what else you might wanna try. I noticed Tone Materials were added at some point and I’d like to experiment with those too.

Medibang_newbrushes06Anyway, that’s how easy it is to access those new brushes. All free, of course, just like Medibang Paint. Have fun! -v