Gustave Dore Study – Sneak Peek!

Here’s a sneak peek detail shot of the artwork I have been hacking away at for the past few months.

It’s near completion (hopefully within a week).  So I thought I’d put up a little teaser.

It’s been an age, so here’s the low down on this piece.  I was inspired by the works and techniques of Gustave Dore.  So I decided to create a piece of fan art using the wood block engraving technique adapted as a digital scratchboard.

The actual hours devoted to this piece so far is probably about 12 hours of actual work (including the sketching, drafts, and final), but I have had to spread it out in tiny chunks of time over the past few months due to my crazy life/schedule.

It still needs some more clean up and other details, and wait until you see the rest of this drawing, it’s HUGE!!!!

Anyways…. here’s the peek!  You are looking at the manga version of Kushana from Miyazaki’s Nausicaa Manga.

Click for the larger version.

Nausicaa-detail01

Here are my previous posts on my Gustave Dore Study Project:

Gustave Dore Study Project – Part 1
Gustave Dore Study Project – Part 2

Study of Gustave Dore: Part 2

Drawing inverse.

That’s right, I said drawing inverse. Not drawing in reverse or drawing in verse. Inverse.

Welcome to Part 2 of my study of Gustave Dore.

When I started to read up on engraving, I learned that the lines you carve out of the woodblock are the “white” negative space. Where the areas that are not carved away will be “black” positive space.  This is because once you’ve carved out your woodblock, and apply the ink to surface of the wood block, the parts of the surface that has ink on it will touch the surface of the paper.

Essentially a stamp.

The reason I find this worthy of mentioning is that this is the inverse of techniques utilized in drawing or painting.  When drawing with a pencil or pen, the graphite or ink that you scratch onto the surface of the paper as lines, dots, dashes, etc., represents shadows  on the object you are drawing (positive space).

So if I wanted to draw a smiley face on a piece of paper, it would be like below:

Smiley

But if I wanted to make the same smiley face and engrave a woodblock so that it could be printed onto a piece of paper, it would be like this:

smiley-invert

 

(the black area would be what was carved out of the wood block)

So this means that when you draw with a pencil or pen on paper, you are drawing darkness; the shadows cast by the object.

When you engrave a printable woodblock, you are drawing light; the light that reflects off the object.

So before photography was everywhere, negatives existed… in the heads of the engraver!

The reason I am making such a big deal about this?  Have you ever tried to draw a negative?  It’s ludicrously difficult.  Especially if you already learned how to draw conventionally.

Now look at the engraving of “Death” mentioned in my Part I post by Gustave Dore.

Death1600

The line work, rendering, and background is impressively tight, and almost look like a computer rendered them.  This was DONE BY HAND WITH AN ENGRAVING TOOL!  ON WOOD!

This would already be difficult with a pencil/pen/brush, but the idea of creating line work like this:

death-detail

Using chisels and a hammer to get this kind intricate detailed quality is just mind-blowing!

chisels

And because it is chiseled into the wood, there is NO ERASING or white out.  Every engraving has to be perfect from beginning to finish.

Now as much as I admire the engraving process, and the amount of skill and work it demanded, even I have to admit that it’s too inefficient for the type of projects that I am working on (graphic novels, comics, and digital work).  It would be fine if I was in the business of creating singular fine art prints, but I am not.

So I began to investigate some alternative methods to achieve the style and look of the woodblock engravings by Dore.

My first possible alternative to woodblock engraving was scratchboards.

For scratchboards you cover illustration boards or boards of wood with white gesso, and then cover with a layer of India ink.  Then simply use a knife scratch off the layer of black India ink.

In the tutorial above the artist, Michael Halbert, draws/brushes ink lines over transferred pencil work onto the scratchboard (pre-coated with gesso), and then uses a knife to scratch away black India ink lines to to refine the black lines he laid down.

This is remarkable craftsmanship.

But to work at the level of flexibility and speed that I wanted, I needed to find a digital process that could create the look and style of a woodblock engraving or a scratchboard, but still give me control, speed, and the ability to manipulate or edit/revise on the fly.

The first thing that popped into my head was:

Why not just use a digital drawing program or photoshop and just make the backdrop black and use a white brush?

In Part 3 of my Gustave Dore Study, I’ll explain why this didn’t work out as a viable alternative, and also the other processes I attempted before finding the one I decided to adopt.

See you then!

-Charlie

More Sketches

Trying to keep the drawing muscles from shriveling into flab.

I decided to do some flexing with these sketches.

hoodie

Here I tried to avoid using any cross-hatching and relied on using line width for rendering. This was part of my warm-up practice for the Gustave Dore study that I started.

Lindsey-1280

This was a quick sketch for a character for a comic book project I am working on with a friend.

nausicaa-sketch

This is my western comic-style rendition of Nausicaa from the Studio Ghibli film.

More to come soon!

-Charlie

Recycled

I dug up some old drawings I had made (mostly pencil sketches, and one or two I did in ball-point pen) and decided to try bringing them into Photoshop and try my hand at some digital manipulation to see if I could get some different looks and feels.

Recyled art!

jess-hat

Here I smoothed out my cross hatching so that it would look like an illustration that would be common in video game artwork.

Chance
My old fanart of Chance and St. George from my “Leave It To Chance” was mutated to look like a grayscale print.

pilotHere I took another pencil drawing and turned into something that looked like a copic marker drawing.

SanA fanart drawing of San from “Princess Mononoke” that I drew originally in ball-point is now a copic marker drawing.

Link

This was my favorite.  Took a pencil sketch and converted it to look like a brush painting!

I am really getting excited about experimenting with my drawings now!  I’m going to see if I can draw in certain ways to take advantage of the techniques I’m learning in photoshop.

Hope you like the art and would love to hear your feedback.

-Charlie

Cinemagraphic: Writing for Graphic Novels

How do you write a graphic novel?

It’s a question I’ve researched for many years.  Unlike many other writing disciplines, there is no academic, industry, or even widely popular standard.

Everything I’ve come across usually comes down to someone just taking a pre-existing format they found from someone else and tweaking it to their needs or wants.  I only came across a few examples of someone actually attempting to create a format or method from scratch.

Before I decided that I wanted to make film my primary artistic endeavor,  I spent many years researching the various ways that comic books and graphic novels are written.

I worked and experimented with many different formats.  None of them seemed to have the Goldilocks feel of “just right” for me.  That was when in my arrogance like most young artsy-fartsy nerds, I was convinced that I could build the better mouse-trap.  That I could create a format for comic book script that was superior to all the others that I had come across before me.

Needless to say, my hubris ended with me throwing in the towel after several attempts over a year or two.

But it wasn’t all for naught.  I did learn some important things:

-There’s a major difference between scripts written by a writer for an artist to interpret/render and scripts written for yourself to both write and draw.  A script written for yourself can be very vague and sparse on details, as you already know what you want and don’t have to explain it to someone else.  But if written to be used by an artist, it’s always good to include too much detail or information than a lack of it.

-The script itself is never meant to be read or viewed by the intended audience.  It’s written solely for the artist to render/interpret for the reader.  It doesn’t matter in the end how it’s written if it fails to do it’s job (not engage the reader, but get the ideas across to the artist effectively, so that the artist can then realize it into something that engages the reader).

-The rules of formatting the script have to be consistent.  If you have all the character’s dialogues in quotes, and all the actions in parentheses at the beginning of the script then it has to be the same all the way through it.

-Use multi-media.  If there is a painting, a scene from a movie, a clip on YouTube showing a skateboard kick-flip, a link to a photo, the face of an actress, a song that evokes and helps to illustrate what you want to come across on the page (which the artist will draw) then there is no harm in providing these pieces of inspiration or reference to the artist.

At best the artist will get exactly what you mean, and at worst they will dismiss it and come up with something on their own, but will still understand what you were trying to get across.  Because your “writing” is never meant to see the light of day, you can use anything you want to get your ideas across.  Hell, if shooting a video of yourself doing a modern interpretive dance while wearing a cosplay outfit is the most effective way to impart something to the artist… then squeeze into that costume!

-Show the artist your pages as you are writing them.  Don’t hold on to them until you are finally finished with the entire thing.  Giving an artist as much lead time as possible to experiment, research, visualize, and design before a deadline is always helpful.  Also I’ve found that many writers found their writing inspired/charged-up when they start to see thumbnails, character designs, and roughs of their pages as they are writing.  Also some elements of the artwork, such as a character’s appearance, design or even the environment design are not what the writer initially imagined, and seeing them helps them to adjust or change what they are writing.  Sometimes seeing an artist’s early roughs could inspire the writer to find new ideas and paths for their writing!  So hoarding your pages until you’re DONE really doesn’t help anything, except your own ego.

During that time of research and experimentation I came across many formats for comic book/graphic novel scripts.  Here is a quick down & dirty recap of the most common formats I came across:

marvelway3

THE MARVEL WAY

A format that was utilized heavily by Marvel Comics writers and editors.  This method had you write up general descriptions of what was going on for a page and leave it for the artist to do most of the lifting and break down their own panel structures, angles, and compositions.

Then the writer would go over the artwork and place caption boxes with descriptives and narratives that were the comic book equivalent of a voice over in a film being spoken by usually a first person narrator, or a third person omnipotent narrator.  And then also insert word balloons with the dialogue.

I thought this method worked well for someone who was both writing and drawing the story, but was a little too loose for my taste when a writer and an artist had to collaborate.  Works pretty good for action-oriented stories that  are on the shallow side for depth, theme, symbolism, and mood.

panelbypanel

PANEL BY PANEL

This is exactly what it sounds like.  A writer puts down everything in each panel. One at a time.

While this method allowed for a writer to give a lot of detail and control, it made things sucky for the artist that actually wants to contribute or use panels and visuals to tell the story.

I’ve found that a lot of control freaks, novelists, and people who tend to be lousy visual story tellers use this method.  Which is hilarious because these type of storytellers that could use a visual artist’s gifts the most in making something work as a visual narrative.

Comics or graphic novels made in this manner tend to be smothered in caption boxes, word balloons, and have very static and non-dynamic visuals.  It makes me wish a lot of times that what I was just reading plain old prose, because I could do better visualizing in my head.  The writing in these types tend to be stronger (because of stronger more controlling writers) but it’s got the visual appeal of a multi-camera, 80’s sitcom on TV.

A subset of this variation that I found intriguing at first was having the writer actually draw out the panels for each page, and then write inside of each panel in text what should be drawn there.

manga-name

THE MANGA METHOD

In the world of manga, a manga writer is expected to create a “Name.”  It’s very similar to what we call thumbnails in America.  The writer will actually draw out the panels and use stick figures and other visual symbols and proxies (like writing “Large Building Here”) in text behind a stick man to convey a background.  The writer will also layout and insert all the word balloons and dialogues.  This “Name” is then given to the artist who will then create a “Manuscript” from them.  Which will be a rough sketch based on the writer’s “Name.”

I’ve always had issues with this method, because it relies on the writer to set a lot of the visual beats and can bind an artist’s flexibility.  Also panel layouts, compositions, and flow tend to suck this way because a writer’s strong suit is not visual.

Although the artwork and actual draftsmanship in manga tend to be superior to many western comics, resulting in the actual image in each panel looking better, the panel layouts and flow really tend to be confusing to follow and lack cohesion.

THE SCREENPLAY

Also called a script, a movie script, the teleplay.  This is where some writers have gone to a format that is in wide use for the motion picture and television industry and there is a wide range of software and style standards that are already in existence.  Why re-invent the wheel when you’ve got a working car, right?

I would say that of all the methods I researched, this method came the closest to what I felt was an effective way of writing for a comic book or graphic novel.

Film and TV are visual storytelling mediums, and so the screenplay seemed like a viable alternative at first.  But I did find one major element that was lacking.

Juxtaposition.

You’re like, huh?  You see comics and graphic novels work one major visual element that makes them comics in the first place.  That is juxtaposition.

That’s a fancy term for placing one panel next to another panel.  You see in comics, the reader’s eyes traveling from one panel to the next and the reader’s mind filling in the gap between those panels (known as gutters) is one of the cornerstones of what makes a comic a comic.  Without it, it’s not a comic anymore.

Screenplays are meant to be used for film and TV where you only see on panel the whole time (the screen).

Also the lack of accounting for the physical page that contains the panels can be problematic as well.  So close, but no cigar.

 

It wasn’t until I had given up on comics and started shooting film that I learned to re-think not only on how to write comic book scripts but writing anything involving visual storytelling.

I know there’s got to be some kind of cliche floating out there that says in so many words:

It always takes someone or something from the outside to significantly innovate or change the status quo.

Cliche or not, that is what happened to me.

Once I started to read screenplays and write my own screenplays that I would shoot, it clicked in my head.  How to write a comic book or graphic novel.  I chuckled to myself at the time because, I thought to myself, “Why didn’t this happen when I was working on a comic?”

It took me leaving comics and going into film.  Becoming an outsider to comics that I found my magic bullet for writing for graphic novels and comics.

A day late and a dollar short?  Well, that’s where I learned that sometimes holding onto your old notes is a good thing.  Because I am throwing my hat back into the ring!  It’s going to be a while before I can shoot my own film.  So in the meanwhile, I am working on cranking out a few comic book projects (an anthology and a full blown graphic novel).

So yay for me! 🙂

Here you go.  My template/format for writing a graphic novel/comic book script.  I even wrote a scene using the format as an example.  I call it:

CINEMAGRAPHIC

Please feel free to read and adapt the format to your own liking, but if you do, I would appreciate it if you could credit me for the format.

Also please do not embed or attach this document on your site without written permission from me.  Feel free to link to my page here with the document, but no direct links to the document either.

I worked pretty hard on creating this thing, so please respect my work, and thanks for checking this out.

Would love to hear what you think about it.  Drop me feedback, and I hope you find it helpful.

-Charlie