Lately I’ve been obsessed with ZIA, also known as Zentangle Inspired Art.
It’s a strangely meditative way of drawing using repeating patterns. True Zentangles are made on small tiles (3.5 x 3.5 inches wide) and contain only one of about 140 official Zentangle patterns. ZIAs, on the other hand, can be any size you’d like and may also use whatever for of patterns you can think of.
Of if you like the term better, think of Zentangles and ZIAs as doodles. ^_^
Anyway, three days ago I started working on a piece and finished it off the day after, and now I want to show it off and brag about it. That’s right: Brag! I’m really proud of it, and while I can see for myself several areas where I could have done better I still think this is the best damn piece of work I’ve ever done!
The whole thing took me about 6-8 hours spread over the two days, working on it whenever time allowed.
– Daler-Rowney Bristol Board 250 g/m2
– Staetler Pigment Liner 01, 03, 05 and 07
– Pigma Micron 005
– 2H pencil
Original drawing size:
– Paper: 20 x 25 cm
– Image: 18 x 19 cm
Scanned at 300 dpi
So, what have I done with the original?
I’ve given it a black, wooden frame and placed it for sale on Finn.no hoping someone’ll find it decorative enough to purchase it. I’ve also added it to my DeviantArt profile as a print so people can order photos and framed images of it.Why?
With a little extra spending money I might be able to buy more and/or more expensive art supplies so I can experiment more. ^_^
I had the idea for this strip many months ago, but for some reason or another I just never got around to draw it.
Two days ago I found some old sketchpapers, one of them with some really crude sketches of this strip. I decided to finally do it, and started drawing yesterday.
Unlike the other strips in the “Daycare” series this one is inked with a brush. All the others are drawn using a pen. Truth be told, I think it would have looked better if I had stuck to the pen. The straight lines in particular just doesn’t seem that… Well… Straight.
The text and balloons are added in PhotoShop.
I notice that I really need to work more on drawing hands. Even cartoon hands. And more practice in perspective wouldn’t be a bad thing either.
Here’s a design-sheet I made before starting to draw.
Upper left show the room layout, just so I’d know what’s where. Then follow the dialogue with thumbnails. The sketches on the right is for the new character, Adam.
And here’s the pencils of each panel.
I’ve inked quite a bit, but always my own work. For some reason I got the urge to try inking over someone else’s pencils today and started googling for something I could use. After a few minutes I found a topic at the Penciljack forums that led me here. I picked one of the boards from the “Fear Agent” series.
I knew it would be a challenge, and not just because it’s another mans work I’d be inking over. It was also much more detailed than anything else I’d done before AND had anatomically correct figures in it (with one very huge exception). So I opened the file in Photoshop and used the colorize option in the Hue/Saturation panel to change the linework to light blue, then printed it out on some relatively sturdy paper. Not bristol board, but not far off in quality either.
I’ve come to several conclusions while working on this piece:
– Inking takes time. I only had one panel finished after several hours work.
– I need some new brushes. The one’s I have start to split.
– I need some serious practice on my feathering technique.
– Inking requires more than just writing on top of the lines.
That last part I was actually aware of from before, but never more so than when I was working on a drawing I hadn’t designed myself. Pencils leave soft marks, something difficult to emulate with ink, and sometimes the penciler forget to add something that makes a part really jarring and you have to add it yourself (or vica versa).
I had planned on inking using a brush, but it seems none of my brushes has survived months of abuse. This became apparent when I started on the hair of the lady in the upper left. I couldn’t get the brush to a pine enough point, so I ended up switching to a nib pen instead.
I started drawing at the upper left and progressed down and reight from there, and if you study my work thoroughly (click the image below for full size) you can see the change in techniques and results as I experiment to find a style that suits me. This is most apparent on the smudges in the background where the leftmost smudge has a line around it while the other smudges does not.
Please, take a look, study what you see, and let me know what you think and which parts I could have done better.
As you can see I botched the lines of the panel border. I also made a few lines outside it. I chose not to edit them away so you could see the true result. The only editing I did to the ink is to make the black a little darker (scanning seems to gray it out quite a bit).
By the way, I should probably mention that small X’es in the penciling is a hint to the inker that these areas should be filled in with black. Saves time when you don’t have to shade huge areas.
Hello there dear reader, I wish you everything good to come in the new year.
What better way to celebrate a new year with something new? Here you go…
What, not new? Au countraire, mon ami.
For christmas I recieved a set of watercolor pencils from my stepmom, and here you can see my first test. I wanted to see if they would be suitable for coloring comics, and whether I’d need to invest in a different kind of paper to make it work.
This little drawing was done on my regular smooth bristol-board, and it seemed to go oer rather well. The paper didn’t warp or buckle noticable, and the colors didn’t smear noticably. The paper wasn’t even damaged by multiple application of color and water. Sure, a whole pge is quite different from a tiny slice like this, but that’s what’s great about comics-panels; They can be colored individually, thereby reducing the waterdamage to the paper to small areas at a time.
Here you can see the colors I got, a 36 pencil set of Cretacolor Marino.
I’m trying to come up with a single-page comic that I can color using these pretty little things, as a test. Check back in the near future to see the result. :)
As any artist worth his salt knows, you can’t paint without tools. What tools you do use depends entirely on what you try to achieve. Here’s a little insight into what I use to draw my comics.
Here’s what I use to get lines down on the paper, black Indian ink. I pour a little into an old eggholder that I use to dip my brushes and nibs into, and pour back what’s not used afterward. Saves a lot of gummed and driedup ink gathering in the ink-bottle.
To the right is some white acrylic I use to cover up tiny mistakes. It’s a little too runny and fluid for my taste, so I should probably invest in some white gouache or Deleter White 2.
Next up is a few of my nib-holders. I prefer the long wooden one, seems to have great ballance. The yellowish short one is more suited for writing than for drawing. And on the bottom… Not a nibholder at all.
Here’s a little tip: If you have some Pitt-pens and they run out of ink, don’t throw them away. They serve admirably as nibholders, as you can see here. ;)
These are the nibs I mainly use.
The upper one is a “Brause extra fine point”, also known as an “arrow point”. It’s extremely flexible and have a linewidth that range from between a fraction of a millimeter to 3 mm thick. Holds a lot of ink despite it’s size. It’s what I use for the majority of Darwyn.
The lower one, a “Brause Steno” is less flexible, but has an excellent ink capacity. I use it mainly to write lettering.
Here’s a little more advanced set of tools… ;)
The top one is a flat squared brush that I se to fill in large areas of ink (you see it from the side in this picture). The yellow brush I use for linework, and the fat one on the botton is reserved for watercolors. I also have a few old, ruined brushes that I se with the white acrylic to cover up mistakes.
You didn’t think I just started inking right on the paper with no preparation, did you? Of course not…
This here’s a right regular eraser. Perhaps a bit large, but that’s the way I like’em. A little soft too.
The mechanical pencil there uses 0.5mm lead, usually hardness H or 2H, I use to sketch out the drawings before I ink over them. Mind you, I always sketch out rough thumbnails on cheap office-paper first, to get composition and such right before I start sketching on the final sheet of paper.
The marker’s used, along with a ruler, to draw the panel borders.
And here’s a Windsor & Newton watercolor starter set. It came with these 12 colors, as well as the small, collapsible brush you can see in there. I also have this small palette-dish that I use for mixing colors (cost about $1). I’m far from proficient with watercolors, but I occationally get the urge to try it out.
Finally, there’s no use for all these other tools without something to use them ON; Paper.
Or bristol board, to be spesific. I use this type, with an extremely smooth surface, almost no texture to it at all. That prevents the nibs from “biting” into the paper, and gives me a really smooth line. Might not be your cup o’ tea, but I love it.