Archive for September 2012
Nepali Boy: Roughs to InksI haven't been sketching for its own sake the last couple weeks, obsessed instead with finishing the 15-page first chapter of my Méto the Abominable Snowboy comic. It's all drawn in Manga Studio. I skip the pencil step, drawing/inking from roughs. I love this process, as I can undo a stroke quickly and try again, leading to loose and expressive line work. No Wite-Out needed, either - I can just erase the ink on my Magic Drawing Glass!
TothPix: The Shadow
Toth. Shadow. Marker and grease pencil. 1998.
1974. Marker & pencil.
Toth's closing thoughts on The Shadow and creator Walter Gibson, drawn 12-18 months before he died at his drawing table. Look closely and I swear you can see he drew the cloak before filling it in/over with black, stripping it down to just hat and nose which reads: The Shadow.
He simplified further as he grew as an artist. We should all take the lesson.
Hitchcock: Ladies ManHitch had a way with the ladies. Truly, he was one sick puppy on this score. He had a history of mildly humiliating his leading ladies since his earliest movies, and as he got older crushes on some of his actresses developed into obsession. Sure, he was married most of his life, and had a child (Patricia, who acted in a few of his movies), but was probably celibate most of his adult life. One repressed dude. And all that bottled up for so long manifested itself in increasingly strange ways as one actress after another moved on, gave up movies altogether, until the controlling, Svengali complex he divulged in his Vertigo was most fully realized with Tippi Hedren. For all his genius, the man had problems. But that doesn't mean we can't love his movies. I sure do. Someday soon I'll list my favorites...
Take a MulliganCarey Mulligan, that is. I grown quite enamored with this wonderful actress of depth and gravity, and pixie-like features. If you haven't yet, check her out in An Education, Drive, and the Dr. Who episode, Blink. She good. I drew this one in Manga Studio, with the Kabura pen - no under drawing or rough. The nice thing about drawing digitally like this is that I can make marks, remove, clean up, re-do and spot blacks with a click as I go. It's like being able to quickly erase ink, giving you the flexibility of a pencil sketch while ending up with a pretty finished drawing. I wanted to capture the sly, playful expression, reinforced by the border and composition. I modeled the hair on a second reference photo.
I mentioned yesterday I'd drawn Hitchcock before, a long time ago when I did this poster illustration for a novelty company in Chicago. This was 1984, about a year before we began work in earnest on the first issue of Trollords. I was 20-21 at the time, and drew using pencil and pastels more back then. Most of this holds up pretty well, although it's stiff in a couple places. I used an Ebony woodless graphite pencil to achieve really dark darks, no doubt rubbing it with my finger or stump, a trusty kneaded rubber eraser at the ready. This is a photo of the original artwork, executed on 18 x 24 illustration board.
I was/am quite the Hitchcock devotee, having attended seminars/showings of his work and read plenty of books. For the poster, although I included a few references to specific movies (The Birds, Psycho, Rear Window and Dial M For Murder), I tried to incorporate as many of Hitch's themes and motifs: birds, voyeurism, mirror images (twins), train tracks and the wine bottle from Notorious. I faltered in my execution of the quintessential Hitchcock heroine, an amalgam of Kelly, Leigh, Novak, Miles, Saint, Carroll, Hedrin, Day. As in Vertigo, Hitch tailored his leading ladies to be a certain type, what became known as the Hitchcock Blonde.I've just discovered a handful of these posters in the Blue Moon archives, so email me if you have interest in purchasing one. I'll update here if I make them available at on online shop.