Drawing with DMC

A couple of posts ago Elinor Blackwood (Ashira) was asking for me to divulge the process that goes into making my coloured images, so I shall now oblige.

So, I start with the line drawing on paper (yes, a real piece of paper!) done with a sepia pencil for no other reason than I like the feel of the media and the brown looks nice. Some folk have mistakenly thought these charcoal drawings, but they are not, just coloured pencil.

Having scanned the image in at 600 dpi, in Photoshop I then make a layer on MULITIPLY setting, onto which with the PENCIL tool I draw/paint/whatever it is you do in the digital context, areas of flat colour corresponding with the lines of the original drawing.

Usually making a copy of this FLAT COLOUR layer – as I call it (turning off the original flat layer, thus preserving the original should anything go awry) I then mould the copied flat colour layer with the BURN tool, working in shadows and form as appropriate.

Finally over the line drawing and the moulded colour I make a HIGHLIGHTS or SHINE layer (sometimes both if I am really pushing things around) onto which with the BRUSH tool I work all the glimmers and glows and shines that pull the image out and finishes it off.

Not much to it really, just time and the right ordering of layers. I highly recommend some form of drawing tablet for this though, drawing fine details with what amounts to a bar of remote soap (by which I mean a mouse) is not so much fun and does not allow quite the same finish without some extra frustration and effort. (Believe me, I have tried for many years with mouse only, and when I finally got a tablet it was like a whole new world opened up… usual story.)

What I like about this combination is the immediacy of a real drawing yet the glamour and finish of fine digital colour. Oh, and I used the same process for the image of Europe you see as a background to this blog.

I hope that is what you were looking for, Elinor.

All images (c) D.M.Cornish, 2011

European Refinement.

This is an updated, slightly more "polished" design version of a previous rough for Europe's final harness in Book 3.

That's all...

Europe - Stages of Development

Today I reckon I would like to show folks the growth of Europe's character design. Being one of what I think of as the intermediate stage characters she pops first into existence in 2001.

This was back when frockcoats and jackcoats were not yet a major feature of the Half-Continent. What she wears is called a lambrequin, what I have now-a-days as cheap easy to produce proofing for quickly armouring a semi-professional mass. As you can see the crow's-foot hair tine has always been a feature. Indeed, early on the day I penned this, I was drawing a crow for a puzzle at Catchphrase and thinking the structure of their feet was rather exquisite - one thing flows into another. At this stage Europe is a slightly friendlier soul.

And so she remained until 3 years on I have an opportunity to put her in a story and there she gets meaner, colder, sharper and I needed to know how she appear in her refreshed guise.

By now frockcoats and tricorns and all that a right in and here I am simply attempting to get a feel for the Branden Rose even as I am writing her. I formalise the flowing fringe here, the precise look of her sleeves and vambrins (those proofed fore-arm/hand coverings) and the wrap-around fastenings of her coat.

From here I proceed to a final character drawing, about A2 in size and very close to the one in Book 1 now.

Yet something was not quite right here either... You shall win the esteem of everyone else in the room if you can tell what the difference is between this and the final image.

Once I solved this for the final book illustration (which dare I admit, involved a very sturdy eraser) I then went on to colour the version of the Branden Rose you see as a background to this very site. I would dearly love to have that produced as a poster some day - I guess it goes on the pile with the full-size map.