In an effort to show you what I'm working on at the moment, yet being as vague about that work as possible, I present the Photoshop colour layer for page 4. Black line work and crosshatching will be overlayed, making pictures a lot clearer. For the publishers and writers involved, I apologise for being so damn slow.
Tuesday, 25 October 2011
Friday, 21 October 2011
I'm on my third Uniball Eye Micro pen of the day today. They were probably half full, but still. The amount of crosshatching I am doing on this latest project certainly sorts pens out from lesser pens. I like using them, when they are new they glide across the page and make crosshatching easier. I have tried to research crosshatching techniques to see if there is a right way of doing it but there seems to be a lack of information on the subject. So as always, with my drawing, I'll make it up as I go along. I am working A3 size for reduction but have cut the pages in half so I can get them on the scanner for colouring in later.
Tuesday, 18 October 2011
Monday, 17 October 2011
After all the excitement of Blogger and their Dynamic Views this blog has gone quiet of late. Reason is I am working on something for a publisher, so a certain amount of compression time is needed before the work is released into the atmosphere. SO in the meantime here a e few vague photos of my desk.
I can say, because of the panel count I have had to adopt a slightly different drawing style to get the detail and clarity of the panels to work. Penciling pages and using UniballEye Micros to do the inking.
Monday, 3 October 2011
'Whatever is in my blood now is drawing me outside into the moonlight and into the woods'.
Large panel pencil drawing from DaM, page eight.
Something I can't discuss has just come through on the illustrator hotline, which means I will be busy for the next few weeks. Fingers crossed. I will let you know more about it when I can, in the meantime I keep making this stuff from the dream Die at Midnight.
Saturday, 1 October 2011
I like the roughness of the pencil and I am learning to not worry about the colouring so much. Most of it is done freehand without the need for flats or accurate pen selections which to be honest in the past have driven me mad. Saying that, my recent investment in technology and software has made things easier and a lot more natural.
Original pencil drawing before applying colouring in Photoshop CS5. Which usually involves using Burn and Dodge on a R153 G134 B117 (Light Cool Brown) coloured layer Multiplied over the Pencil Artwork. It helps to change the size of brush via the keyboard as you 'paint' and to set the opacity of the brush to around 40% to build up layers. My favourite textures, like fur and concrete, are then Overlayed as well as layers which are flattened and Cut Out and Poster Edges filters applied, using Overlay in the Layers palette.
It's also worth looking on the net for custom texture brushes for Photoshop. Some really simple designs are extremely effective, especially when they 'rotate' in their pattern. Lost & Taken is one of my favourite sites for Texture inspirations.
Basically I throw everything into the mix. I try not to use Undo if I can help it, if a layer combo doesn't work I tend to turn the opacity down to 8% and flatten it into the image any way. Mistakes are part of the process, a bit like 'physical' art.
My colouring secret that I can't tell anyone involves the colour R54 G47 B45 (Darker Cool Brown), applying Lens Flare and Gaussian Blur and then using the Overlay filter. It really makes the colour on the page come alive. But like I say, It's a secret and no one will understand my blabbering on enough to make it work for them.