Haunted Mansion Bride (and Hatbox Ghost Bonus) Process Video

Yikes, what a weird week. I’m quarantined in my home studio, my friend RunRedRun is quarantined elsewhere, so we haven’t been able to work on any new videos. Here’s one of the handful we got in the can before the quarantine: The Haunted Mansion’s Black Widow Bride, with a bonus backup of her pal, the Hatbox Ghost. Hope everyone’s staying safe and healthy.

Scooby Doo’s Space Kook : Trying Out Ink Wash

Hey, if you’ve been following these short process videos I’ve been putting up with my friend RunRedRun, maybe you saw us ink a werewolf earlier this week.

Werewolf_thumb

But this past Thursday, we had fun trying out ink wash technique for the very first time with a quick illustration of Scooby Doo’s creepiest monster, The Spooky Space Kook!

Scoob_spacekook_thumb

How did it all turn out? You can watch the video below and decide for yourself. In just six or seven minutes RunRedRun and I manage to squeeze in quick conversations about inking, Scooby Doo, and Star Trek while I work.

Reviewing the Pilot Shinpitsu Bristle Brush Pens (and inking a Sleestak)

Yeah, maybe I buried the lede. I inked a Sleestak from The Land of the Lost with the Pilot Shinpitsu Bristle Brush Pens. I liked ’em. But if you wanna see ’em in action, just check out the video. And, besides the pen review, RunRedRun and I talk about ’70s Sci-Fi Kids TV hit, The Land of the Lost because why not?

PilotPens

Inking The Mummy

Time for another 6-minute video where I ink a monster and RunRedRun and I talk about stuff. This time, it’s mummies. Are they scary? What are their monster powers? Spoiler alert: We have no idea. But here’s me inking one anyway (with PIGMA Brush Pens and PITT Artist Pens).

Inking The Headless Horseman

I’ve been trying to upload some quick inking/making videos on YouTube lately that show my process (albeit, at breakneck speeds). So here’s the latest. Seven-and-a-half minutes of inking the Headless Horseman while gabbing about our favorite versions of The Legend of Sleepy Hollow.

Happy Halloween (ten months early). -v

After-School Project: Making a Werewolf Paper Doll with Clip Studio Paint

I have a friend who is a grade school teacher and is always looking for creative activities for the kids in her after-school program. So every once in a while I make her a paper doll the kids can color, cut-out, and assemble. Since I did this near Halloween, I decided on a kid-friendly werewolf. And to make it, I used Clip Studio Paint.

Since this craft was intended for kids that could range from Kindergarten through Eighth Grade, I didn’t want to make the monster too scary for the little ones. I started the project by sketching out my friendly werewolf in Clip Studio Paint using a Layout Blue Pencil.

RULERS

Yes, I could freehand this sketch, but I used some of Clip Studio’s ruler tools to help me work more efficiently. I placed a Symmetry Ruler down the center of the page to quickly outline the monster using the standard G-Pen. Inking the left side automatically inks the right side. So you can draw things twice as fast.

In addition to the Symmetry Ruler, I used the Curve Ruler to trace the outline of the individual body parts. I use the Curve Ruler as a guide so my ink line is smooth and uniform, and doesn’t take long to draw. You just zip around that ruler like a car around a race track, and the brush settings takes care of the line weight.

The bonus benefit of using the Symmetry Ruler along with the Curve Ruler is that I only have to draw one of everything, and it’s duplicated (in reverse) on the opposite side of the page. Again, I’m getting a lot of this job done in half the time.

For the detail work, I turn off the rulers and just ink freehand. I prefer asymmetry for the details because it helps the illustration look more natural and hand-done.

Once all the details (and joint markings) are drawn in, the only thing left to do is print the illustration out and deliver it to my teacher friend for her to distribute to the kids.

And here are some of the paper dolls in progress during the after-school program.

I’ve been posting some process videos on YouTube, so if you’d like to see me work on this project at super-fast speed, here’s the video:

RideScare Service: Coloring an Illustration in Clip Studio Paint

This is really Part Two of my process (I inked this image in Part One). This time, I’ll go through my coloring process. Nothing tricky. Just flats, highlights, shadows, and texture.

DateWithDeath_inkprocess_VinceDorse

As always, this is just one of dozens of ways to color art in Clip Studio. I encourage you to find the methods that work best for you and go to town.

Flats

With the inks on their own layer, I create a layer beneath that for the flat colors. With Clip Studio, you can use the Fill Tool (Paint Bucket) to drop color simply and quickly.

DateWithDeath_inkprocess_VinceDorse

If you set the Fill tool to “Follow Adjacent Pixel”  with the “All Layers” icon clicked (see above image), the tool manages to confine the fill within the lines of the ink outline, even when it’s on a separate layer. A great time-saver!

But if you have a lot of little lines (like I do in this drawing) that can sometimes slow you down. So I’ll take a brush (in this case, the Mapping Pen), turn off the Anti-Aliasing (so I get a crisp, bitmapped edge) and I’ll trace the contours of the shape I want to fill.

DateWithDeath_inkprocess_VinceDorse

Then, with the inks layer turned off, I’ll drop color with the Fill tool and fill that large area all at once. Alternately, this same job could also be accomplished with a Lasso Tool (or a Curve Ruler converted to a selection) and Fill tool.

When that step is completed for all the objects in the piece, the layer under the inks might look something like this. I like to have all the flat colors touching or overlapping under the line work, no gaps or white space.

DateWithDeath_inkprocess_VinceDorse

Note: I say “layer” but, in fact, I used multiple layers for the flat colors to keep things organized. The crypts, car, road, and sky are all on separate layers.

Highlights, Shadows, and Texture

The coloring in this piece isn’t complex at all. The flats, basically, are the midtones. So I’ll use my imaginary light source (the moon?) to help me lay down the highlights and shadows. I use the Auto Select (Magic Wand) tool to select each of the flat color shapes, then brush in the lights and darks.

DateWithDeath_inkprocess_VinceDorse

You can see in the composite image (above) that I used a handful of different tools to simulate the various textures in the illustration. Again, you could color this a few dozen different ways and it’d look just fine, but this is what I went with this time.

People

I used the same process for the figures as I did for the background shapes: Midtone Flats, shadows and highlights on a separate layer.

DateWithDeath_inkprocess_VinceDorse

Note: I know the hapless couple would technically look a bit more blue in the moonlight, but I thought making them the one source of warm color in the piece would draw the viewer’s eye.

Finishing Touches

DateWithDeath_inkprocess_VinceDorse

Before this ghoul drives off into the moonlight with this poor couple, I wanted to add a few finishing touches to complete the image:
1. I brushed in headlight beams and reflections on the windscreen, then lowered the opacity of that layer.
2. I recolored some of the line work to make it more dynamic.
3. When a friend said this image would make a fun animated short, I pasted in some text to give the illustration the feel of an old cartoon title card.

And that’s all there is to it.