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

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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.

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

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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