The High Knight

As the storyteller you have a great capacity to invent. Given a protagonist and a conflict a great deal of interesting topics can arise between the beginning and the end.

What fire sparks your imagination? What sort of peril would this knight save a fair damsel from? Would he fight dragons or does he just tell the narrator stories as he sits on the mantel on cold rainy nights?

Take a couple of minutes and view the full piece on my fine art site: "The High Knight". Fill your imagination with what if's. Let me know what you came up with.

Special Vanishing Point

Stiff lines, bare angles, and semi-technical math are my new friends. I have desperately wanted to achieve the technical perfection of the most skilled comic artists and draftsmen. A little bit of perspective will always do wonders for your piece. So I sat down for hours on end and studied the manuals I had on hand to figure how to best solve my creative problems. 

So, earlier this year that I had to get more serious about perspective drawing, if I was going to continue to be serious about creating comics. It has been a blessing. It has allowed me to see my art in a new way.

Alas, perspective drawing is not for the faint of heart. I am truly in awe of architects, technical illustrators, and engineers. To be accomplished in rendering for three dimensional production is a skill that takes time and patience. Translating from line to form or form to line is a broader way of thinking.

For the illustrator, cartoonist, or painter it is truly secondary. Some times perspective gets in the way of the image. Hours spent hashing out measurements are usually better spent on color or caricature or just creatively inventing.

In this preliminary drawing I first discovered the benefits of a special vanishing point and it did wonders for the finished drawing. I am not yet ready to share the finished page, but you can see here in my Sketches page that if a drawing requires proportional sides the task can be tedious. 

V Is For Verone: Part 2

Instead of giving up he strived one more time to make eye contact with someone, anyone. There huddled in the inner ring was the prettiest little girl he had ever seen. She looked up and in the darkness her eyes sparkled. A spot of passion reflected from the meager fire. Her eyes read him from toe to head.

“There is a place for you by the fire.” She murmured, and then she opened up a her blanket to reveal a vest.

Then the circle broke for him to come through. As the boy reached the far end where a path formed, he went to sit next to her.

“Who are you?” She asked.

“I-I am Verone, a Romani like you.”

“Well then, this vest was meant for you.”

“What do you mean?”

“You see the 'V' stitched into the two portions in the front of the vest and the 'V's' making the Romani wheel on the back.”

“Yes.”

“I stitched this for my father last summer.”

“Why are you giving it to me? Where is he?”

“He died tragically a year ago, about this time.”Verone was dumbfounded. She smiled gingerly and gently handed it to him.

“His name was Viktor. And I am finished with my mourning just today at breakfast. I was told that I must find another man to fill his vest.”

“I am not a man. This vest is for a big man. Maybe better suited for a bear...I don't know.”

She giggled and then responded,“Do not worry Verone, you will one day grow into this.”

The fire died by early morning and the chill returned. Verone saw that the clan had already moved on and he was the only one left in the cave. The extra large vest was still around him. He was huddled into it. Today, the young thief had to reach his clan. He hastily jumped up with the vest still around him. He looked about the cave for anyone or any sign of the little girl, then Verone climbed back up through the crevice. He ran down the pass.

What would his future be, he thought? Then, he passed a small camp site. The hikers had their bag on mounted on a tree. Verone walked slowly up to the bag and grabbed some food out of it. The boy ate some of the bread and fruit and cold meat as he hurried to tell his family about his wonderful blessing.

V Is For Verone: Part 1

Who is Verone and where did he come from? And why does he have that "V" on his vest? In this two part story I present a little back story to "The Course".

As the cold winter wind broke through the mountains in some unnamed highlands of Eastern Europe a young gypsy thief ran and took refuge under the cliff. His clan had moved on a day ahead and he was seeking to survive.  Little did he know, there was a gypsy clan who had already taken refuge in the cave. He could smell the cooking stew, probably made from a mountain goat or some poor farmers stray cow.

The boy entered the narrow passage way under the overhang. There before him were several small families hunched together around several fires. They barely acknowledged him as he came down the crevice through an awkward rock path. The boy circled the first fire and no one made eye contact. They were concentrating too much on being warm or they just didn't care. He circled the second one and no one even moved. At the third fire the the boy was desperate. If he could not find solace here he would likely freeze to death if he tried to go on. Though, the stew smelled heavenly, he could endure the hunger. He had done that before. It was warmth and rest he longed for.

Chunky Paint

Chunky paint is the medium that bridges the gap between india ink and regular water media such as acrylic, gouache, and water color. If you paint with these media with any regularity you would understand the commonality and therefore the benefits of bouncing from one to the other from time to time. The learning curve is immense and there is almost always something new to learn.

In Little Tree I tested illustration board for its ability to hold watercolor. This is in fact a value study in burnt sienna, but it is also a finished piece. I will boldly proclaim that because it can handle no more detail and it is unnecessary because everything will get lost. Follow the Little Tree link to my Deviant Art page to see the full painting.

On a cloudy day I sought out nature to inspire me to spring board me into my comic drawing stage of the day I came up with this painting and three blind drawings before it. The first 2 of the Painted Flowers series are held in my Experimental Art page.

Blind drawing is an interesting process. It is not blind in the sense that you use only your hearing and feeling senses to detect shape and form. But for the artist it is the opposite. You see with your eyes, but feel the paper/board with your pencil or brush. In effect, you let media feel the contours of the physical object without actually seeing the the page. It always has surprising results and pushes the artist to the next level.

Nature of Inspiration

One of the biggest up hill battles I have fought since I graduated from college is what I am supposed to do with the artistic talent I have been given. In my life there has been no shortage of doubts, struggles, and missteps. But above anything else, the journey has been most fruitful when I let go of my expectations and trusted God to fill in the blanks. That is what this piece, The Nature of Inspiration, is all about.

Amongst my watercolors this color sketch is not the most technical. For me it captures the spiraling, yet linear movement of dreams and goals. How they can often be easily read, but still over a blurry and colorful backdrop. I do not know what my future holds or how today will make sense in reference to tomorrow. Yet, God leads the way and the trail will not finish at a dead end.

Title Of Story

Telling stories is a great tradition passed down from generation to generation and from age to age. It is a tradition so universal that pretty much every culture throughout history has maintained it in some form or another. The fact is, that it is one of the best ways to get your point across. Even the most analytical and heavy thinkers with the most scientific minds use it to demonstrate what theory they are trying to explain. Dry facts bore us to death. We might as well dismiss our humanity and plug ourselves directly into our favorite technology if facts are all we get. It is nearly impossible to comprehend something without a proper context. And if that context is not relayed with some accuracy or attention to detail, it also loses its potency.

One of the great things about my friend, Mark Thomas's art is that it has an affinity to give you all of the details you need and you can fill in the blanks about the story on your own. It is important to see art in a setting as opposed to viewing it second hand, because the live version of the art translates the heart and soul of its creator so much better.

On Mark's opening night I was privileged to have the opportunity to draw the very setting of the show. Often, these sporadic interpretations of reality are rough, but the point is not precision or even sobering reality. The message plainly rendered is that you get the mood and you recognize the primary details. So for any artist an opportunity like this presents itself as a practice in seeing and a remembrance of the experience.

Man And Wife

As I work on redoing page 1 of The Course I have to take my steps forward delicately. Perhaps for the seasoned comic book artist they do not sweat the small stuff. However, there must be caution when using strictly black inks. If I were to color this my line quality, though it needs to be clean and pristine would not require the full volume of values that I am trying to accomplish. To see the level of value harmony I am referring to look up artists such as Franklin Booth, Bernie Wrightson, Bryan Bolland, Alex Raymond, and Howard Pyle. These men created art that shows the great range of possibility with just black ink. As I try to emulate their level of quality I have to do so with the mind that this will be a finished piece of art, not just a line drawing for a comic book page.


This week I am going to start showing you some of The Course's characters and talking about their motivations and roles in the story.

Feseleg the Hungarian word for wife is what Teleki refers to "Emily" as. She is as sweet as a strawberry on a Spring day and as graceful as a swan. To find out more about her attributes follow this link:  Teleki's Wife.

Child-like Curiosity

If only it were just that simple to revert back to the playful habits of being age 5 again. Both Picasso and Klee attempted with mixed results. Today I posted a some simple art under Experimental Art which is just plain fun. No worry about composition, the right color combinations, or rendering abilities. Enjoy.

Anticipation

With every new piece of art created there is anticipation as to whether the piece will turn out as expected. All artists plow through this emotional turmoil from time to time.

For me this is the third time that I have worked through page 1 of The Course. I always anticipate it being better, because I know that over time my skills do improve and I absorb what others do into my routine and make them my own. 

See if you can tell the differences between the image in this post and the one that I posted a couple of weeks ago. There are subtle differences, but I expect them to make the final inked page look stellar compared to the last one.

Also, check out Speckled Forest on my EXPERIMENTAL ART page on this blog. That is where I will posting some of my stress relieving art. Enjoy!

Value Composition

Part of the process of producing a comic page is laying it out. Almost all professional comic book artists use some method of figuring out where all of their dark and light areas go on the page before applying any ink or drawing it up.

After realizing that I had not planned my inking out very well a friend suggested this method of blocking in the dark and light values before going to ink. I have chosen the traditional inking method entailing brush and dip pens, because the blacks are much more potent, permanent, and versatile than using technical pens, ball point pens, and Adobe programs.

My method of blocking in value is to scan in the page in its penciled state, scale it down to the actual page size, print it on gray paper, then use black and white pastel to find the best possible scenario for the values of the page. I have to seriously consider the light source when I do this. Typically when you are working with just lines it is more difficult to consider some of these things ahead of time. Back tracking with this method has helped me think ahead on future pages.