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

Kickstarter Commissions Rolling Right Along

Hey everybody. Just a quick one this time. Along with everything else that’s going on, I’m diligently working on the commissions that certain backers of my Kickstarter get. I want to get them finished in time to ship them with the books (which should arrive in the next couple months). So, While I don’t have a lot of time to make process posts, here’s a quick rundown of the latest one I did.

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It’s Scout. One of the stars of my book. And, as usual, he’s nervous about something. The fact that he’s quick-to-panic is a big part of his personality and character. And that’s exactly what this particular backer wanted. A good, old-fashioned, scared Scout.

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So here we go. Pencils on Bristol Board.

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I’m using those Sakura Pigma brush pens I’ve been fiddling around with lately. Really like the control and variable-width line I get with those.

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All done inking. Time for color.

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He may seem white, surrounded by all that color in the comic, but Scout’s not white. He’s kind of a very light cream color with warm brown markings. I’m using a Utrecht marker I like for the base color, but most of this will be finished with Copic Markers.

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So there’s Scout’s markings and shadows, done with Copic Sketch Markers. I like those brush tips. Not much left to do here….color in the mouth area, text, and grass.

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Not sure my phone camera captures color very accurately, but here’s Scout — all finished and ready to run from trouble. When I start sending out Untold Tales of Bigfoot: Crossing Paths to backers in a couple months, he’ll be packed into the envelope with the book. So. Another one down. But I have more to go. Better get to work. -v

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

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 3D Figure by Blokko: How It’s Made!

I’m happy to present the very first, official Untold Tales of Bigfoot 3D Figure by Blokko! Months in the making, custom designed by me and the folks at Blokko, and beautifully sculpted by Blokko co-founder Prad Lal, Bigfoot’s one of the first figures ever released by Blokko. And since this is my process blog, I thought it’d be fun to show (and tell) you how this figure was made.

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HOW DID THEY DO THAT?

Way back in January, I got a call from Blokko co-founder Rahul Thayyalamkandy. He wanted to tell me about Blokko, an innovative new company that designs 3D printed figures based on engaging stories and comics. At Blokko, you can read stories, learn about the creators, and buy toys based on those stories. Rahul wanted to create a 3D figure of my Bigfoot character. It seemed like a fun idea, so we started the ball rolling.

The first step was providing a turnaround view of Bigfoot so Prad would have a basic design to work with.

Bigfoot model sheet for Untold Tales of BigfootPrad then blocked in this first, red sculpt (below) before pulling in the turnaround drawing. This base sculpt gets the ball rolling and gets some rudimentary features into the figure.

Early mesh for Untold Tales of Bigfoot figureAfter that, Prad used the turnaround drawing to get the proportions closer, evolving the early mesh, each step looking a little more like our furry friend. Prad sent me some screen shots of the process.

3D modeling process for Untold Tales of Bigfoot figureBut Prad’s a meticulous artist. He didn’t just rely on my model sheet. Both he and Rahul are fans of Untold Tales of Bigfoot and, as such, Prad pored through pages and pages of my comic, working with me via emails, tweaking the design, fine-tuning it, and making sure it reflected not just one static image of Bigfoot, but his attitude and personality as well. You can see the progression of the sculpt below, including changes to color, the design of the base, and the evolution of the shoulder area and body mass.

Untold Tales of Bigfoot 3D figure by Blokko process

ONCE IT’S SCULPTED, THEN WHAT?

The next step was the test prints. It’s not just about aesthetics at this point in the process. Stress-testing and breakage are important things to consider. Since we weren’t sure how the sculpture would stand up to everyday wear, Blokko tested two different versions of Bigfoot: one with the waving arm attached at the hip and one free floating.Untold Tales of Bigfoot Blokko Test PrintsThe test prints withstood the drop tests and looked good — but not quite perfect. And these Blokko guys are perfectionists. Prad thought the fur texture could be more obvious, and the color still wasn’t right. We had to wait a few more weeks while the testing and tweaking were repeated and perfected. You can see the alternate colors and alternate arm position below (along with Jason Brubaker’s Victuals figure from his graphic novel reMIND).

Untold Tales of Bigfoot 3D figure test prints by BlokkoWith figures like these, there is no after-sculpt painting or assembly. The figure is created through a process called polyjet printing (a lot like regular inkjet printing). The object is built layer by layer, using a composite of gypsum and, I assume, magic, depositing colors and a binding agent from multiple tiny nozzles at the same time. Once this part is done, the object is cleaned with air jets and dipped in a solution to give it strength and bring out the colors. One more coat of cyanoacrylate to resist against weathering and it’s ready to be shipped!

UTOB 3D FIGURE TURNAROUNDAnd here he is! Some friends lent me their figures so I could shoot a single-shot turnaround pic. Now there’s a whole herd of Bigfoot in my studio. Bigfoot’s personality leaps right off the page and into this figure. All those months of working and waiting and painstaking tweaking have paid off.

How Do I Get One?

Anyone who’d like to have this friendly Bigfoot for their desk, bookshelf or workstation, just head on over to the Blokko Bigfoot Page and pick him up for $48 + shipping (which, in my case, was only 5 bucks). The figure stands 12.5 cm (about 4.9 inches) and is the very first collectible toy based on Untold Tales of Bigfoot. For size comparison, here he is making friends with the Dark Knight.

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Discount Code?!

Yup, there’s a discount code for loyal fans. Right now, for a limited time, you can get 10% off with the code FORSCOUT. Plus, if you help spread the word via social media, you can get an additional 5% off when you share on Twitter and another 5% off when you share on Facebook. And that’s all taken right off the top, so you have the potential to get 20% off of your total! Just stop by the Untold Tales of Bigfoot page at Blokko and give Bigfoot a home.

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Edit: I just uploaded a short (2-minute) unboxing video of me opening this toy up. It’s not gonna win any Oscars, but if you wanna see it, it’s here.

Haunted Mansion’s Hatbox Ghost, natural media process

What with all the digital inking and coloring I do, I wanted to get back in the groove with my tech pens and markers. The Hatbox Ghost seemed like a fun thing to practice with.

HatboxGhost_standingDown below you see the rough pencils that I sketched. Going old school, I light boxed those onto a piece of Bristol with a 4H pencil. The lines ended up too light to scan, actually, otherwise you’d see an image of the refined pencils here.

The inks were done with Pitt Artist Pens, and a Pitt Brush Pen. I’m working my way back to my old trusty traditional ink brush, but it’s been a long time, so the brush pen will be my transitional tool.
Hatbox Ghost by Vince Dorse, pencils and inksAt the top of the post you can see the finished art. After the inks were done I put down some tones with Copic Markers. I liked the way it came out, so I dug around my old mat blanks and found a couple pieces of board to mat it with. Also, for fun, I played around with drawing the ghost’s head in the hatbox (inspired by the original animatronic effect). I’ll have to figure out a clever way of framing it so that I can blast light through it and reveal the boxed head.-v

Hatbox Ghost by Vince Dorse, matted with light