Thunder Wolf

I did this little wolf illustration for a tutorial about tips for drawing cute creatures in the May 2013 issue of ImagineFX's Fantasy and Sci-Fi Digital Art magazine. You can also find him in IFX's 2013 Digital Artist's Survival Guide. :3

Sea Kitten

Sea Kitten! A miniature comic I did about a tiny horned aquatic cat. For a tutorial about using comic panels to show action, featured in the June 2013 issue of ImagineFX's Fantasy and Sci-Fi Digital Art magazine. Sea Kitten!

How to Draw a Cheetah

With its sleek, streamlined body, and long, muscular limbs, the cheetah is built for speed. Capable of running at an incredible 70 mph, the cheetah is faster than the rest of the big cats, or any other land mammal. As you draw, try to bring out the power and grace of this beautiful feline.

 The key to drawing anything is to break it down into basic shapes. If you can draw circles and ovals, you can draw a cheetah.  Don't be discouraged if your first attempt doesn't turn out exactly like the picture. Practice makes perfect, so let's begin!

Click the image below to view the step-by-step cheetah drawing tutorial.

Don’t give up if your first drawings aren’t perfect. Art is not something that can be learned overnight. Drawing is a skill that must be practiced and supplemented through observation, so keep a sketchbook, and take it with you everywhere. Look around you, draw what you see.  Visit the zoo and sketch animals. Sketch people at the mall. The more you draw, the better you’ll get. Good luck!

How to Draw a Polar Bear

Polar bears are large, muscular animals with short legs and powerful forelimbs. The polar bear’s body is streamlined for navigating ice, water, and land. Their elongated torso and tapered head and neck are perfect for long distance swimming, while large feet give them better traction on the ice. Thick fur protects them from the cold. Try to bring out these traits in your drawing.

The key to drawing anything is to break it down into basic shapes. If you can draw circles and ovals, you can draw a polar bear.  Don’t be discouraged if your first attempt doesn’t turn out exactly like the picture. Practice makes perfect, so let’s begin!

Click the image below to view the step-by-step polar bear drawing tutorial.

Don’t give up if your first drawings aren’t perfect. Art is not something that can be learned overnight. Drawing is a skill that must be practiced and supplemented through observation, so keep a sketchbook, and take it with you everywhere. Look around you, draw what you see.  Visit the zoo and sketch animals. Sketch people at the mall. The more you draw, the better you’ll get. Good luck!

Here's another article written by me with more animal sketching tips and resources.

How to Draw an Arctic Fox

Arctic foxes are nimble and curious animals, bursting with energy. They have thick fur to protect them from the cold, which makes them especially puffy and adorable. In the winter, their fur is white to camouflage them in the snow. It thins and turns brown in the summer. For this tutorial, we'll be drawing their winter form.

The key to drawing anything is to break it down into basic shapes. If you can draw circles and ovals, you can draw a fox.  Don't be discouraged if your first attempt doesn't turn out exactly like the picture. Practice makes perfect, so let's begin!

Click the image below to view the step-by-step arctic fox drawing tutorial.

Don’t give up if your first drawings aren’t perfect. Art is not something that can be learned overnight. Drawing is a skill that must be practiced and supplemented through observation, so keep a sketchbook, and take it with you everywhere. Look around you, draw what you see.  Visit the zoo and sketch animals. Sketch people at the mall. The more you draw, the better you’ll get. Good luck!


Here's another article written by me with more animal sketching tips and resources.

Artistic Polar Bear

Polar bear art created for Wildlife Warriors, for use in the "My Arctic Animal" competition and "Creating a Comic" tutorial in Bare Essentials magazine, Issue 25, pgs 37-41.

Original pencil drawing.

Fraggle Rock Cover - Coloring Step-by-Step

Recently, I did a cover illustration for the Fraggle Rock comic series. When I do large illustrations like this, I like to track my coloring progress through a series of iterative save files in Photoshop. This allows me to experiment without worry, knowing that I’ll be able to go back to an earlier version if I make a mistake. An additional benefit of doing iterative saves is that once the image is finished, I have the a step-by-step process that I can then share with you.

Here’s my coloring process on the Fraggle Rock cover from start to finish:

1) I start by scanning my clean pencil line art into Photoshop CS3 at 600 DPI. I use Brightness/Contrast, Replace Color, and the eraser tool to remove any stray lines or graininess. Sometimes I’ll leave some graininess for texture. Then it’s ready for coloring!

2) Once the line art is prepared, I reduce the file to the required output size for publication. (In this case it’s 10in.x10in. at 400dpi.) Then, using a “Hard Round” Brush (100% hardness, 100% roundess) in Photoshop CS3, I begin blocking in the basic colors and shadows, feeling out the mood and color scheme for the illustration. The cave sets in Fraggle Rock come in a rainbow of colors and lighting schemes, so my palette choices were pretty much unlimited. After some deliberation, I decided that a glowing blue interior chamber would be the perfect backdrop for the mystical and mysterious minstrel, Cantus. From there, I decided to play off the blue with yellow cave walls.

3) I continue building up the Fraggle characters, background, and foreground elements with additional shadows and highlights. At this point, I also start layering texture on the walls using a custom brush with grainy speckles. I’ll apply the textures a shade lighter or darker than the surface color, or sometime different colors altogether for extra “oomph”, and then soften the effect by lightly painting over them with the Hard Round brush. I frequently use this custom speckle brush  in The Last of the Polar Bears for the den walls and snow.

 4) Don’t be afraid to make changes midway through the process! (Do be sure to make backup saves, though!) I started to wonder if the red and brown shadows of the cave walls were too eye catching, and experimented with painting over them with a neutral blue. Experimentation can sometimes lead to fantastic, unexpected results, but in this case, it just helped me realize that the previous colors were fine, and that I needed to just keep going. I discarded this iteration and went back to the previous version.

5) I continued working up the shadows and highlights and refining colors. Once I get to this stage, I focus in on an area, and work my way up from background to foreground, finishing sections as I go. Here you can see Gobo is very close to complete, while work on Cantus hasn’t yet begun.

 6) And here’s the finished illustration!

Fraggle Rock Vol. 2, Issue 3 comes out later this year at comic book shops everywhere (visit comicshoplocator.com to find a local comic shop near you). In addition to the Cover B illustration, the issue also includes a short comic about Uncle Traveling Matt illustrated by me. Be sure to pick up a copy!

Finding the Right Pose - Archie Character Designs

Recently, I put together some Archie character drawings to try out for a penciling position.

Archie Character Sheet (inks). Pencils by me, inked by Jared Hodges.

Finding the Look

Working with pre-existing characters is different than designing your own. I first had to familiarize myself with nuances of the "house style" to draw the characters on-model. I did this by sketching the characters, while carefully studing the spacing and proportions of their features, especially their faces.

Finding the Pose
Once I felt comfortable drawing the characters, I did some thumbnail sketches for each character's pose, searching for the best character-appropriate gesture for each. It's worth noting that when I'm doing gesture sketches like this, I'm working small and fast. I'm not worried about proportions or details--that comes later. This is all about finding the pose.

Veronica
Veronica is the rich girl that pretty much gets what she wants. I decided to give her a hand-on-the-hip pose that emphasized her confidence and stylishness. For her outfit, a cute flirty dress, clutch handbag, and a bit of bling. I briefly entertained the idea of a more illustrative shopping scene for her (with bag carrying Archie in tow), but decided to stick with standalone poses.

Veronica poses

Betty
To contrast Veronica, I went with a sportier pose, and jeans and jacket outfit for Betty. I got pretty far in the drawing when I realized the pose was a bit too similar (hand-on-hip again) to Veronica's.

Betty - pose and rough pencils, next to finished Veronica for comparison.

Keeping the keywords "cute" and "sporty" in mind, I started over. Of these, the first two I did (upper middle, upper right) weren't right at all for Betty -- too sexy; too cutesy. After that, I stopped and reconsidered the character. Sweet and sporty. I liked the gesture of Betty twirling a finger around her hair to showcase her ponytail, so I kept that in the rest of the sketches. I ended up going with my third attempt (first sketch on the top left).

More Betty poses

Archie
Archie's your average, nice guy character that everyone gets along with. For his pose I decided to show him "just hanging out".

Archie poses

Jughead
Jughead's the goofy comic relief character. To capture his cartoony mannerisms, I tried to push his poses towards the extreme (without going too far). I thought it would be funny to show him tossing an entire burger in his mouth the way you might with a piece of candy.

Jughead poses

Polishing the Art
Once I had my poses selected for each character, I printed out the sketches at a larger size with blue lines so I could do a clean pencil pass over them with their proper details and proportions.
And here's the finished results!

Creative Lettering in Comics

There has recently been a lot of scrutiny over the quality of lettering in the Twilight manga adaption. From what I've seen, I don't disagree. The lettering is lackluster, difficult to read and feels like an afterthought-- word balloons seem to be transparent and awkwardly placed for no other reason than simply because there wasn't any space allotted for them when the artist made the page. For example, the second panel of this sample page shows two hands touching over a microscope, but a word balloon has been plopped over top of it, covering the primary focus of the panel with dialogue.

I've read a number of blog posts listing lettering mistakes in the Twilight manga. But while there are basic guidelines for readability, lettering is not an exact science. As with other art forms, the art of lettering is subjective. Some of the techniques that have been identified by some bloggers as "wrong", such as word balloons bridging multiple panels, transparent word balloons, and overlapping word balloons, can actually be used to good effect under the right circumstances.

Here are some examples from various manga to show you what I mean:

Word balloons bridging between two panels - This can be an effective and interesting way to transition between scenes, or tie two panels together for a greater emphasis of their connection to each other.

In this scene from Fushigi Yugi Genbu Kaiden by Watase Yuu, we see Takiko's change in reaction over two panels as another character gives her insight into the reasons behind an earlier event. The bridging word balloon makes the transition feel smoother and her reaction immediate, as the other character is speaking. Breaking up the dialogue into two separate balloons would have changed the timing of her reaction.

In the Suikoden III manga, Aki Shimizu raises the tension of an opposing army charging forward by connecting Lucia's word balloon to the adjacent panels. This gives us a sense that the enemy's war cry is ongoing (*and* getting louder - note the increasing size of the "aaaAAA" sound effect) as she instructs her son, Hugo, to make a critical choice.

Transparent word balloons - Used sparingly with thoughtful application, transparent word balloons can allow text to greater integrate with the imagery contained within the panel.

In these examples from Fate/stay Night, the transparent word balloons have a piercing effect, as if the words are going straight through the character as they are told something confusing, shocking, or unexpected.

Naoko Takeuchi uses transparent word balloons often in her Sailor Moon manga. I suspect that the effect is used more for aesthetic reasons, to integrate the balloons with the artwork in an attractive, non-intrusive way, like in this page featuring a full body illustration of Usagi. But it has the added effect of giving us a sense of being within Usagi's psyche as she reacts to information about a legend (the balloons contain voiceover dialogue from Rei).

In all of these examples, there's plenty of room where balloons could have been placed without obscuring the artwork, so I think it's safe to assume that they are intentionally transparent for effect.

Overlapping word balloons - Effective for indicating that a character is responding quickly, talking over, or interrupting another character.

Here's two examples from Nana by Ai Yazawa, one of my favorite mangaka. Showing the nuances of character interaction is one of her specialties.

In this panel, Yazawa uses the proximity of the word balloons to contrast between Nana's explosive outburst and Takumi's quick but cool-headed reaction.

In this panel, Junko's boyfriend Kyosuke adds detail to Junko's comment. The overlapping panels here give the impression that these romantically-involved characters are working together to build upon each other's thoughts.

Finally, here's an example from my own book, Peach Fuzz (volume 3, pg 56). This page utilizes all three techniques:

Edwin and Peach are ferrets that don't see eye-to-eye in their needs, so while Peach is concerned with status and entitlement, Edwin is quick to get distracted by the presence of food. As Peach explains the layout of her kingdom in the first panel, Edwin perks up at the mention of food and interrupts her with an overlapping word balloon. His word balloon flows uninterrupted into the second panel, as we close in on Edwin's drooling face. Peach's response bridges the gap between the second and third panels as she explosively wrestles control of the conversation again. Finally, in the fourth panel, Peach's assumptions that Edwin has a kingdom of his own blend seamlessly into the sparkly background through the use of a transparent word balloon, showing us that she's caught up in her own fantasy.

In all of these cases, the style of the word balloons helps express the tone and intent of the character without ever sacrificing readability -- that's important. These techniques should not be used on every page, only when there is a need for it. To use word balloons effectively, I find that it's essential to plan out the word balloons at the same time I'm composing the actions and layout of a page - during the roughing stage.

There's a *lot* more you can do with word balloons and lettering to enhance the story. I'll cover more of the basics and other creative techniques in a future post.

Comic Page Layout Template

Here is the page layout template (larger version here) I'm using for Last of the Polar Bears. You're welcome to download and print it out for use in your own comics.

The template is sized for printing on standard letter-sized paper. There's a space for you to draw your comic page, a place to keep track of the page number, and a place to indicate starting date. I find marking the date useful for keeping track of my daily page output. The empty space has a purpose as well. This is where you can break down panels, write notes, and try out different ideas for panels configurations, poses, and expressions before you commit to them in the actual layout. See my previous post for examples.

I originally created this layout for use on Peach Fuzz, so the trim and bleed sizes are suited for a standard 5"x7.5" "manga"-sized graphic novel. The black bars on the top and bottom are there as space fillers because the dimensions are intended for penciling on a traditional 11"x17" comic page.

Book sizes vary, as do individual publisher's designated trim and bleeds. For example, I use a different page template for penciling comic pages for Archie Comics. Think about your desired final output size and plan your rough layouts accordingly.

Making a Graphic Novel (Part 1)

My Creative Process

I've finished scanning and compiling the roughs for the first chapter of The Last of the Polar Bears! 67 pages total. The full story consists of seven dense chapters chronicling a polar bear family's journey and struggle to survive in the changing Arctic. I'm working from a detailed 40-page synopsis of the story Jared Hodges and I wrote together. So far the breakdown is working out to about 10 pages of comic pages per 1 page of synopsis, so I estimate that the complete story will end up being around 400-500 pages.

Because I am both the writer and the artist, I decided to bypass the step of writing a traditional script for The Last of the Polar Bears, and work straight from synopsis to rough thumbnail pages. This allows me to be very flexible with my roughs. I read over my synopsis, then visualize the look of the pages as thumbnail drawings while I'm breaking down the actions panel-by-panel. In this way, I can quickly discover whether scenes that are easily described in text work visually, and make necessary corrections.

Here's page 17 and 18 from synopsis to rough thumbnails, in which the twin polar bear cubs Stella and Nanook experience the outside of the den for the first time:

Synopsis:

Stella asks Nanook what's up there. The next panel is his point of view. Endless white snow, and arctic twilight. Frostbite (an arctic fox) is also in the shot, but she is well camouflaged. Her tail is wrapped around her face so that she looks unremarkable, like a lump of snow. "Nothing. Everything's white!" A cold breeze sets his teeth chattering. "It's cold up here!" Shivering, brother cub tumbles back into the den, and falls on top of Stella. Stella protests and goes into battle mode, but he just huddles against her for warmth. It's no fun to play with an unwilling partner, so she gives up and calls him a wimp . She asks him if he saw "it". He shakes his head no. "Just lots of snow."

I breakdown this description into a list of panels, each with a short description of what I want to bring to the attention of the reader. My thumbnail page layout (template here) measures 4"x6" on an 8.5".x11" page and contains pertinent information such as trim and bleed so that I can plan out the overall look of the page along with composition, actions, and word balloon placement.

Sometimes the pages come together in a very straightforward fashion. Sometimes I'll end up trying multiple panel configurations. On page 17, you can see that I've come up with alternate takes for panels 1, 3, and 5.

Once the thumbnails are drawn, I scan them into the computer and assemble the pieces. Here's how 17 and 18 currently look.

These thumbnails are my roadmap for the next step: penciling the pages at full size. With composition and content of the panels figured out, I'll be able to turn my focus to drawing the characters tighter, cleaner, on model, and anatomically correct (to name just a few of many things I'll be keeping in mind as I work through the pages).

I'll continue to delve further into aspects of my comic creation process (with more Last of the Polar Bear sneak peeks!) in upcoming blog posts, so stay tuned for more.

Speedpaint 24 - Tiger

For this speedpaint, I tried a different approach. As always, I work from back to front, blocking in the background before moving onto the figure. The difference is that this time, I started with the lightest colors and built up to the darkest shades (sort of like using watercolors), whereas in previous pieces, I started with my darkest colors first, and worked up to my lightest colors. As a result, the finished piece has a slightly more pastel color palette.

Photoshop CS3, 45 minutes.

Speedpaint 21 - Ducklets

I encountered this Muscovy duck and her newly hatched ducklings yesterday and thought they'd make for great subject matter for a new, long overdue, speed painting. :)

Photoshop CS3, 1 hour
Soundtrack: Grandia OST

Speedpaint 13 - Still Life

This one was loaded with details, so I broke it up into two sessions. Yesterday morning, I painted the background using a soft round brush to give everything a soft focus, and today I came back to finish the foreground details using my standard detailer brush (hardness at 100% and a hint of noise texture) and a bit of the airbrush.

Part 1:
Photoshop CS3, 48 minutes.

Soundtrack: Brazil Classics, Vol. 1: Beleza Tropical (a favorite from my childhood)


Part 2:
Photoshop CS3, 47 minutes.
Soundtrack: Juuni Kokki OST