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34 Articles

SKETCHBOOK PRO STREAMLINE YOUR SKETCH PROCESS

Autodesk’s SketchBook Pro for Windows and Mac is known for giving artists easy access to its many tools when working on any type of artwork. The essential philosophy behind the software is to help artists feel they have an application that acts just like a real-world paper sketchbook, which you’d use while out and about. The programme is quick, simple and very effective. SketchBook’s Pro’s Lagoon is a user interface (UI) that offers a series of common shortcuts for speedy access. By default, it’s located on the bottom left of the application screen. Having these common shortcuts in one compact area helps you to streamline your painting process. Better still, you can even modify the Lagoon to fit your exact needs. So, let’s see how this can be achieved and how to…

SKETCHBOOK PRO STREAMLINE YOUR SKETCH PROCESS

SKETCHBOOK PRO GET TO KNOW THE BRUSH PALETTE

“All the brushes are displayed in one easy to-access toolbar” SketchBook Pro comes with a variety of brushes and tools to fit the needs of every artist or designer of all levels of proficiency. All the brushes are displayed in one easy-to-access toolbar called the Brush palette. This palette offers all the basic tools with simple adjustable properties for you to enjoy working with. The icons within the Brush Palette are graphically visual and easy to identify, which all helps to contribute to a smooth and user-friendly creative workflow. In this part of our guide you’ll learn how to locate the Brush palette within SketchBook Pro, how to open the Brush Properties panel for each brush and how to organise your brushes to improve your painting experience. 1 Finding the brushes The Brush palette is…

SKETCHBOOK PRO GET TO KNOW THE BRUSH PALETTE

SKETCHBOOK PRO CUSTOMISE AND SET UP BRUSHES

The latest SketchBook Pro is an all-in one package crammed full of tools and brushes to satisfy any type of artist, giving you plenty of helpful digital assets to complete your projects. Although the software provides you with all the tools you need, SketchBook Pro also gives you the power to edit and customise an existing brush, or create your own unique brush, and the possibilities here are almost endless. In this short step-by-step guide, you’ll learn the basics of creating a new brush, where to customise the brush’s properties, how to best name your new brush and change the brush icon, and finally how to add it to the Brush Palette. I promise it’s not as complicated as all that might sound! “You can edit and customise brushes – the possibilities are almost…

SKETCHBOOK PRO CUSTOMISE AND SET UP BRUSHES

SKETCHBOOK PRO TAP INTO THE POWER OF LAYERS

Layers are an integral part of SketchBook Pro’s flexibility. If you’ve used other software such as Photoshop you’ll be familiar with the concept, but if not, imagine a layer as a sheet of glass which can be stacked on top of others. Layers are the building blocks of a piece of artwork. The key is that each layer is normally transparent except where it contains an image element. For example, if I draw or paint a clear blue sky on one piece of glass (a layer), add another piece of glass (a new layer) on top, and then paint a forest scene on the top layer, I’ll still be able to see the blue sky on the layer below, peeking through the unpainted parts of my forest layer. That’s the power…

SKETCHBOOK PRO TAP INTO THE POWER OF LAYERS

SKETCHBOOK PRO USING LOCK TRANSPARENCY

Along with all the amazing user‑friendly tools and options you’ll find in the current version of SketchBook Pro for Windows and Mac, the powerful Lock Transparency function can make your life much easier and help improve your workflow when creating artwork. In this guide you’ll learn where to find this function, how to colour your line-art and even render any element you either draw or paint on the canvas using Lock Transparency. The name isn’t very helpful: it doesn’t so much lock anything as mask transparent areas of a layer. All you really need to remember is that when it’s active, you can only affect content that already exists on the layer, not draw or paint in new areas. This is a basic formula to help you better understand this function. “When…

SKETCHBOOK PRO USING LOCK TRANSPARENCY

SKETCHBOOK PRO BRING YOUR ART TO ANIMATED LIFE

The animation Flipbook feature in SketchBook Pro 7 can for now be considered a bit of an experiment from the programme’s developers. It’s best to see the tool as a work-in-progress project, because while the brush tools and userfriendly functions are impressive, this new feature is still limited. But it’s worth spending a little time investigating. You can’t export your animation as a video file and the layers system is very basic, but to be fair, this is the beginning of a feature that could very well lead to the next generation of “tradigital” animation tools. In this brief introduction I’ll guide you through the animation side of SketchBook Pro, reveal how to animate with the Flipbook, and explain how to handle the new layers system. “This is a feature that could…

SKETCHBOOK PRO BRING YOUR ART TO ANIMATED LIFE

Sketchbook Patxi Peláez

“Before I discovered animation, my first love was comics, so I draw lots of comic characters”“The most fun thing is when you’re drawing what you love, without any pressure” Artist PROFILE Patxi Peláez LOCATION: Spai Patxi lives in the Basque Country, Spain, where he’s worked in the animation industry for over 20 years, as an art director, character designer and in visual development for feature films and television. He’s also an illustrator of children’s books for various publishers in Spain. www.facebook.com/patxi.pelaez.7…

Sketchbook Patxi Peláez

Sketchbook Joverine

“I’m just drawing fun stuff and then shoving a story behind it”I’ve always found it boring to do studies of static poses… Artist PROFILE Joverine COUNTRY: Canada Joverine has worked in the comics, video games and toy industries. Rather than treating a sketchbook as a way to “capture scribbles”, the artist says he loves to lose himself in an idea, harnessing the raw energy of inspiration and riding it all the way through the page. www.instagram.com/joverine…

Sketchbook Joverine

Sketchbook Mark Brooks

“Monsters and aliens are some of my favourite to draw because you can bend and twist the anatomy”“I ike to inject a sense of youth and playfulness into my art whenever possible…”“Varying line weights come in extremely handy for team action shots” Artist PROFILE Mark Brooks COUNTRY: US Mark is an Inkpot award-winning artist for Marvel Comics. His career has spanned 15 years and included stints as a cover and interior artist on Spider-Man, X-Men and the Avengers. When not drawing comics Mark spends his time contributing concept and character designs for video games, toys companies and television. http://ifxm.ag/m-brooks All Marvel characters ® and © Marvel Entertainment, LLC, All DC characters ® and © DC Comics…

Sketchbook Mark Brooks

Sketchbook Randy Bishop

“I was seeing a lot of photos of girls holding little dogs and decided to do something similar”"I absolutely love drawing women with chiselled noses and chins" Artist PROFILE Randy Bishop LOCATION: US Randy is a character designer and illustrator who lives with his wife and children in Idaho Falls, Idaho. He’s been working as a freelance artist for the past several years, primarily as a character designer for animation and games, but has also worked as an illustrator, creating artwork for the publishing and education industries. www.randybishopart.com…

Sketchbook Randy Bishop

ARTIST PORTFOLIO TONY S DANIEL

Just like the Joker, Tony S Daniel is wrestling with Batman. As we’re interviewing him, issue 45 of the latest series is in its death throes, and it simply won’t die. Normally, Batman wouldn’t be such a problem for the artist, who’s returning to a character he’s pencilled numerous times during his career. The trouble is that his inker has dropped out mid-issue, so he’s on double duty, drawing and inking his boards on the fly, Fed Exing them off to DC Comics while responding to our questions. Long hours aside, Batman is where Tony’s fans want him, and it’s where he wants to be. “It’s like that feeling you get when you go back to your favourite place,” he says. “It’s still what you remember, but you’re older and wiser and…

ARTIST PORTFOLIO TONY S DANIEL

It was back in the late 1990s that Tony S Daniel made his name in the comic book world with a creator-owned series called The Tenth. Beginning as a four-part mini-series with Image, it later returned for 14 more issues published by Dark Horse. Fans constantly ask Tony if he’ll ever return to it and while it’s something he’d love to do, he doesn’t want to make any promises. “I’ve thought about the Tenth and for me, the concept and approach would need a complete reboot,” he says. “I wouldn’t approach the book the way I did back when I created it. It would serve me better to create a brand new property.” One option is for him to write it, and have someone else draw it. However, his instinct is to create…

LEARNING FROM THE GREATS

Every comic artist remembers their early heroes, and for Tony S Daniel two early favourites were John Byrne and Mike Zeck. You might even be able to detect a touch of John’s strong, simple forms and clean, direct line work in Tony’s artwork today. His tastes refined somewhat with Barry Windsor-Smith, an artist whose work is more rendered, detailed and nuanced. Tony still remembers buying copies of Machine Man at his local 7-Eleven. Later came the European comic maestros, like Moebius and Liberatore. “Then Jim Lee and Marc Silvestri came around and changed things up with cool, big images and lots of razzle dazzle. I really got influenced by that, as did most everyone around that time. I started to come into my own a bit later after getting more manga-inspired,” says…

ARTIST PORTFOLIO KEN LASHLEY

Growing up, what was your dream job? Chances are Ken Lashley does it. The Canadian artist makes comics for Marvel and DC. He does design work for a big toy and games company. And he also draws for the Star Wars franchise: they commissioned him to cover a car with Stormtrooper and lightsaber art. When Ken thinks of his own childhood, he’s always on his way to the local variety store. “To get comics and snacks,” he says. “Well, mostly comics. I spent about 90 per cent of my allowance on Marvel comics.” He was also into TV cartoons about extraterrestrial characters, like Herculoids, and the Galaxy Trio. He’d draw these characters while they were on-screen and put so much time into it that his mum signed him up for classes…

ARTIST PORTFOLIO KEN LASHLEY

DRAWING AN ICONIC SUPERHERO

1 Jim Lee wants you “I had to work fast because it was going to be showcased at New York Comic Con 2017. I had a few weeks. I was happy to stay at Marvel, but DC wanted me to be part of the launch and l couldn’t refuse a call by the legendary Lee. The panel announcing the new Milestone books took place the first day of the show. So I looked at all the images created of Icon over the years and used them as inspiration.” 2 A bald Icon? “I use many digital tools these days, but drawing in a sketchbook is still my favourite. I can do pretty much anything I want in it. I went for a classic look for this piece: flying with a heroic pose. I…

DRAWING AN ICONIC SUPERHERO

A LONG TIME AGO IN A COMIC-CON FAR, FAR AWAY…

“By 2011, I was working for lots of different companies, but my Lucasfilm job was my favourite. I received a call to draw live on a 2012 Volkswagen Passat at San Diego Comic-Con International. It became one the most rewarding and scary jobs that I’ve ever worked on. I was tasked with drawing images from the six movies. It was a lot more difficult then I had anticipated. The surface of the car had been wet sanded previously, but absorbed the materials I brought with me – all except my Sharpie. I went through 36 Sharpies that weekend. My highlight was one of my good friends at Hasbro – actually, he is a lead art director – came over and brought me a drink. That’s what I mean about having great friendships…

A LONG TIME AGO IN A COMIC-CON FAR, FAR AWAY…

ARTIST PORTFOLIO FIONA STAPLES

My favourite character is Special Agent Gale because he’s a sarcastic jerk. Almost everything he says is pretty mean, and I relish drawing those expressions,” says Fiona Staples, probably the hottest artist in comics today. She’s talking about a pale, bat-winged spy character in Saga. After over 30 issues of the smash hit indie title, the comic she created with writer Brian K Vaughan has won her 17 trophies: Eisners, Harveys and more. Saga is the tale of star-crossed lovers Alana and Marko, and their baby daughter Hazel. The couple come from different sides in a galactic war and when their treachery is discovered, it seems just about everybody in the universe is out to get them. As the title suggests, it’s an epic tale of love and war across the stars. Fiona…

ARTIST PORTFOLIO FIONA STAPLES

HOW SAGA COMES TO LIFE

Working alongside writer Brian K Vaughan, Fiona Staples is the artist behind Saga, one of the most eclectic and unusual comics you’re ever likely to read. It’s creator owned, and perhaps that’s the reason it ever saw the light of day. “I never felt like a hired gun. All Saga decisions are made by both of us, from scheduling to foreign edition deals to T-shirt designs,” says Fiona. “I don’t know exactly where the story is headed long-term, so I just take it month by month! Hazel is growing up fast, and the rest of the family is ageing a bit as well, less obviously. I try to have their appearance reflect their circumstances. The last story arc saw the family separated, and Marko and Alana looking pretty haggard. When we come…

HOW SAGA COMES TO LIFE

PEN & PHOTOSHOP CREATE A COMIC SPREAD

This spread from Wonder Woman: The Lies had a lot of work to do! It had to establish, to the informed reader at least, that this was not the real Themyscira, the island paradise former home of our heroine, but rather an elaborate fake. Meanwhile, Wonder Woman herself had to be slightly dazed and uncertain – wanting to believe she’s home, but somehow holding back. The spread had to feel rich and evolved as an environment, but also suggest clues to its true nature… 1 ISUAL NARRATIVE CLUES Themyscira is a highly evolved, civilised paradise, so making the shelter behind the queen’s table so crude is a giveaway that this isn’t the real Themyscira, instead someplace more barbaric. 2 A DOUBTING STEVE Wonder Woman’s love interest Steve Trevor feels doubt. He’s the only mortal…

PEN & PHOTOSHOP CREATE A COMIC SPREAD

CINEMATIC DRAMA

1 Shapes take shape The first step is flatting, or breaking down the image into separate colours (subcontracted to Chris Garcia – thanks!). Colour choices don’t matter here, as long as each shape is a different colour to adjacent shapes. 2 Colour scheme I establish the overall colour scheme and change flat colours to base colours, or darkest versions of the colours I will eventually use. This prevents me from going too dark, which could obscure the line-art. 3 Adding details I use the Brush tool to paint details, add secondary lighting and create surface textures. I also add special effects on separate layers. Here there’s a colour hold on the whites of Hippolyta’s eyes, and a slight shine on her silver crown.…

CINEMATIC DRAMA

PHOTOSHOP & PAINTER PLANNING A SUPERHERO COVER

Creating a cover, whether it’s for a book, a magazine or a comic book, involves much more than just picking a nice image. A cover serves a purpose, and therefore there’s a lot of things you need to have in mind before starting to draw. In this case, I’ll show you how I design and create an effective comic-book cover – a superhero comicbook cover, to be more specific. There are a few things you have to keep in mind when it comes to superheroes, and the first is that they’re usually all about dynamism and power. You’ll find a few exceptions out there, of course, but most times, that’s what an editor seeks on covers of this genre (and I assume that’s what the audience wants, as well). Another thing you…

PHOTOSHOP & PAINTER PLANNING A SUPERHERO COVER

ARTIST INSIGHT 15 TECHNIQUES FOR COLOURING COMICS

Colouring comics is the best job in the art world, as far as I’m concerned, because it leans heavily towards the fun part of art: the storytelling. Colour can take a reader by the hand and lead them through pacing and mood, guide their eye to where it needs to go, and flesh out details in materials and lighting to suit the story. It’s kind of like being the cinematographer and soundtrack composer for a film all in one. The trick to successful colouring is to think about what’s going on beyond the panels of the page, and have those outside elements and motivations influence the things we can see. That can mean a million different things. Maybe it’s blazing hot outside. Maybe the environment your story takes place in is bleached…

ARTIST INSIGHT 15 TECHNIQUES FOR COLOURING COMICS

HOW I CREATE COVER ART THAT HINTS AT THE STORY

1 The thumbnail stage The team picks one of my thumbnail ideas, and we add the tentacle in the tree to allude to the story. The scene looks beautiful and powerful, but there’s also a sense of danger. I also add some colour ideas for our colourist, Romulo Farjardo Jr. 2 Digital pencils I use Photoshop to do the pencilling, using Ray Frenden’s Blue Pencil brush (you can buy it at http://ifxm.ag/ray-pencil). I prefer to work up all the elements in the scene during this stage, because it makes the following inking stage a lot easier. 3 Inking the image Once the pencils are done, I print the image directly on to Bristol paper and finish it with ink and traditional brushes, transforming those rough lines into fine lines and textures. I want everything to…

HOW I CREATE COVER ART THAT HINTS AT THE STORY

PHOTOSHOP & INK A FRESH TAKE ON WONDER WOMAN

When I start a new project, my first thoughts are usually, “What should this illustration look like, and what drawing style should I use?” Usually, we have a basic idea for the covers based on the stories, but since this was my first cover for the new arc of the series, DC asked me to do a “kick-off” cover. It would need to show what aspects of the character appeal to me, which brings me to my point about the style. I love Wonder Woman – she has so many sides! She’s a heroine, a warrior, there’s a divinity quality to her, and yet she’s very human, and this gives me several references to explore. So, my idea for the cover and for the entire book was to distil all those iconic…

PHOTOSHOP & INK A FRESH TAKE ON WONDER WOMAN

ARTIST INSIGHT CREATE INTRIGUE IN YOUR WORK

Raruurien is my ongoing original webcomic. The story is about Rien, a recently widowed witch who lives with her two sons in a traditional mountain village. Because of my decision to introduce a young, beautiful widow character, I get many questions from the comic’s readers. Who was the husband? Is he handsome? How did he die? I try not to reveal any spoilers related to him. But sometimes I tease the readers by featuring him in flashback panels without showing his face. In this promo art, I’m drawing Rien’s most beautiful memory of her late husband, which is their wedding scene. Again, I tease the reader by obscuring his face. PAINTING WEDDED BLISS Artist PROFILE Ann Maulina LOCATION: Indonesia Ann is a game and comic artist. She’s the author of the award-winning webcomic, Raruurien. She loves…

ARTIST INSIGHT CREATE INTRIGUE IN YOUR WORK

COLOURS THAT WARM UP THE COMPOSITION

1 Have fun with sketch designs In this wedding scene I want to bring the most out of Rien’s beautiful ethnic wedding dress. So I begin the process by producing a range of sketches that show off the design of her outfit. 2 Develop a colour composition I pick a triad colour scheme and block the main objects with colours that determine the temperature of the scene. Adding more colours to the palette is key: it helps me visualise a rough version of the final image. 3 Adding detail to the colour sketch Once I have the colour composition locked in place, the rest of the process is just detailing and finishing. I start by applying base colours, shading, reflected lights and highlights.…

COLOURS THAT WARM UP THE COMPOSITION

PHOTOSHOP, ILLUSTRATOR & MIXED MEDIA GIVE TINTIN THE FABLES TREATMENT

Developing artwork for a cover is rarely simple. You must maintain the fundamentals of a standalone image, such as a strong composition with an interesting palette. But the cover also has to engage the reader so that it’s not only appealing to look at, but also brings them into the story. Having seen some of my covers for Vertigo’s Fables series, the ImagineFX team suggested I take a swing at another established character: Tintin. Working on famed properties such as this is exciting, but it brings a challenge of interpreting the figure in a way that enables me to paint an image that satisfies my creative needs while also remaining true to the character’s original spirit. This workshop will focus on showing the choices I make in conceptualising the piece. It will…

PHOTOSHOP, ILLUSTRATOR & MIXED MEDIA GIVE TINTIN THE FABLES TREATMENT

ARTIST INSIGHT PAINT A DECAYING COMIC LANDSCAPE

The image you see here is a wrap-around cover for the very first issue of Coda, a comic book series written by Simon ‘Si’ Spurrier, to be published by BOOM! Studios. Because the story’s an exciting, dark, witty and expansive new take on the fantasy genre, the main idea for the first cover was to provide a engaging introduction to the comic – a window into this new world, if you will. Much like the first scenes in a good film or comic book, it’s important to establish the main elements and settings of the story. Yet I have to strike a balance between showing enough visuals to pique a viewer’s interest, without giving away too much information about the story, characters and setting. I chose to place the main character Hum…

ARTIST INSIGHT PAINT A DECAYING COMIC LANDSCAPE

1 Laying out the image My aim is to develop a strong composition, by effectively arranging the important elements of the scene. I start with very rough shapes, then proceed to define smaller objects and details while bearing in mind the larger compositional groups. I also explore colour in this early phase, following the same principle. 2 Inking the drawing I work this part of the job in paper and ink. Two sheets of standard comic book paper were used because it’s a double cover. Pen nibs and brushes enable me to turn pencil into inked lines. Varying the thickness and weight of lines will help develop the sense of distance in the scene, and a hierarchy of elements. 3 Colouring the composition Once the art is scanned, I add colours in Photoshop on separate…

PENCIL ACRYLICS INK PHOTOSHOP INK AND COLOUR A COMIC COVER

For years I was intimidated by working digitally. Something about the plastic nib on a plastic surface felt too jarring to me. I love the sway of a brush on paper too much, the pop of the ink from a pen nib – there’s a romance in traditional work that I can’t separate myself from. Today, Cintiq tablets and Kyle Webster brushes bridge this gap a little more for me, but I still love paper. So here I present you with a process that enables you to keep your traditional connection strong while utilising the power of digital. I dance back and forth in the beginning, drawing my sketch in my sketchbook, scanning and changing my lines to blue, and then printing it out to give it more detail traditionally again. I…

PENCIL ACRYLICS INK PHOTOSHOP INK AND COLOUR A COMIC COVER

PENCIL, INKS & PHOTOSHOP BRING COLOUR TO BLACK PANTHER

Black Panther was the first superhero I really identified with. I’m a huge fan of the character. Over the past few years I’ve had the chance to work on the comic and it’s always a blast. When showing the process of how a comic image is created there are always a few creators involved, usually a penciller, inker and colourist. I’ve been inking my own work for years now and I’ve become more comfortable as I move forward in my career. So I decide to treat this workshop like I do my day job, and ask my colourist to do his thing over my inks. I start my work the same way I do all my digital work: I lay down some rough areas and just get rolling. I open the work…

PENCIL, INKS & PHOTOSHOP BRING COLOUR TO BLACK PANTHER

PHOTOSHOP CREATE DYNAMIC CHARACTERS

Creating characters, scenes and stories has always been an immensely pleasurable experience. It’s always a lot of fun for me and I never tire of it. My methods of creation are sometimes strange and disorganised when I’m dealing with personal works, and the illustrations almost always change during the course of the journey. This applies both to the characters, which often take on a life of their own and grow in directions I hadn’t anticipated, and to the atmosphere and colour palette of the whole scene, which can change radically as I try out different hues for the ambient lighting. This in turn influences the colouring of every element in the image. I create my art using Photoshop in a simple way without using many of the resources it has to…

PHOTOSHOP CREATE DYNAMIC CHARACTERS

ARTIST INSIGHT DRAW EXPRESSIVE FACIAL FEATURES

Drawing heads with emotions and expressive faces is always difficult and challenging. Even now I struggle with the odd face. However, perseverance and hard work will get the expressive look you’re after in your drawing. When it comes to drawing heads, nothing’s set in stone because different characters have vastly different features. Yet a grounding in head anatomy will enable you to experiment confidently and it will certainly show in your drawing. In this workshop I’ll take you through how I go from initial drawings, using reference and my techniques when drawing heads. I use Clip Studio Paint, which I love, and I work on a Cintiq Companion for prelims and on the actual comic pages on a 27-inch Cintiq hooked up to a 21-inch iMac with 4GB of RAM. Right, grab…

ARTIST INSIGHT DRAW EXPRESSIVE FACIAL FEATURES

QUESTION I want to draw someone getting pulled sharply in one direction. How should I achieve this? Tina Wright, US ANSWER Dave replies When yanking your character about in an action scene, consider the physics of the situation and how it affects the human body. Arms and legs will fly and flap about, and their positions can be used to highlight the motion you want to convey. When people stumble or fall, they’ll often make frantic motions to try to correct their balance. Capturing some of that desperation will add that energy to your image. A recent spate of Alien franchise discussions inspire this whimsical space monster scene. I want to examine three varied poses, with each one being created by an external force pulling on the figure. I make these up out of my head,…

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