Several have asked to see and learn more about the way I work and how I prepare for drawings; I hope to post additional drawing processes in the future. Here is an example from The Daily Mobster in which I prepare a concept which is usually a character name or an exaggerated feature I want to focus on and begin generating the look. I can usually come up with a name, but I also wrote a little script that will generate random names and nicknames for me if I get stumped. Some occasions produce the drawing first and the name afterward, but that is usually an exception.
I begin with a flurry of rough shapes and mood arc lines; in this case the mood line was straight as this guy is pretty somber and straight-edged. When dealing with exaggerated characters, especially ones that will only be seen in black and white and have no obvious color to define them from the others, shape is very important. It is the second thing our eyes process after contrasts. I play around, drawing and sketching various shapes, silhouettes and sizes until I find one that captures the personality and allows for the details I want to include.
Once I choose a sketch concept that seems fitting, I may do a quick study of a specific spot or detail that needs further revision or attention. In this case it was the hand holding the scissors. Then I draw the to-scale underlining sketch. I will ink directly on my sketch, so this is drawn very lightly and somewhat loose as I already have the thumbnail to guide me. The first line of ink goes on, directly over the pencil, which defines all the major lines and I do the small detail accent lines with a different weight ink pen. Then I block in the blacks with a heavy pen or ink brush (if I am at work or traveling, ink brush is a little too messy). After all the blacks are filled, then I do the line weighting and the line shading/hatching. I prefer to control the line weight by simply inking in more lines next to the originals rather than using a brush pen with pressure or a heavier pen, which would be faster, but I feel I need more control over the exact thickness. Finally I fill in the hatching for the fine details or denote key shadows that help to give depth or define shape.
The last step is to do a quick composite on the official mobster background and paint in some shadows on the wall. Preparation in any project is important. Sure there have been several drawings that are really just sketches and turn out great, but as soon as something expands to more than that or has an ultimate goal preparation helps a lot, thumbs and rough ideas are always the way to go.
Linked to Illustration Friday’s “Prepare”