In the Mud by Jason Kirschner

I haven't posted on this group blog in a while. I've been off in the "dayjob" world and my fellow bloggers have been kind enough to deal me out of the rotation for a bit. (I mixed metaphors. I know. I'm ok with it.) But it's my turn today, and since we all know that I consider this blog the closest I get to therapy, I thought I'd share what's on my mind.

I have recently been taking a break. Not only from this blog but from creating kidlit altogether. Since the end of the summer, I haven't really written or drawn anything that could potentially end up as a book of any sort.  I was tired and I felt I was spinning my wheels but getting nowhere. I started a new season of tv at "dayjob world" and told myself I just didn't have the time but I think I was making excuses. I think I was just a bit burnt out. I doodled a bit here and there and wrote down random story ideas or plot points but nothing really constructive.

And then October rolled in. I forced myself to try Inktober as a way to start drawing daily again. Now I would consider myself a pencil guy. I draw with pencil on cheap paper and mostly color my stuff digitally. Ink doesn't really enter into my process. Plus, I've tried Inktober before and never gone further than 8 or 9 days. But it seemed like an escape ladder out of the small muddy pit of not-drawing I'd dig for myself. I don't know why it was muddy-- that's a mystery to me too.

SO...Inktober day 1, I posted something I wasn't entirely happy with but I felt an ounce of satisfaction at having completed something. I made a decision to do no erasing or digital doctoring.
"Don't be fussy," I found myself saying as a mantra.  Day 2, I started to try to explore the different things I could do with the few ink pens I found in my bucket o' art supplies. Maybe a teensy bit more satisfying.

Day 3.

On day 3, the prompt reminded me of a character I had written a picturebook manuscript about. It was the project I was spinning my wheels on earlier this summer. Day 3 was the turning point for me. On day 3,  I decided to make my Inktober about the bunnies in the book I wanted to finish. I christened it "Bunntober."

It started to be fun to visit the characters each day. And the ink became fun too. I got a few more markers and pens at my local art store. Now I could do grey washes with Copic wide markers and really teeny details with Micron pens. I still did my layouts in my very comfortable Prismacolor pencil #943 and then inked over it. The prompts gave me aspects of the characters to explore that I hadn't yet and the ink somehow made the drawing fun again because I got semi-finished sketches that did, but also didn't, resemble the work I was familiar with.

And people were commenting and liking my stuff. I wasn't an Inktober star like fellow D2PB'r Mike Ciccotello but I got a bunch of new followers and some really lovely comments. I know that's not why we make the art but encouragement is always lovely.  Most importantly, I think I've dug my way out of the pit and I'm ready to start my dummy. I've actually already started roughing out some pages and I think I might be finishing the finals in ink!

Day 24.

Day 31.

Day 25.

Day 27.

I guess this is a super duper, barely coherent, long winded way to say...if you're stuck in the mud, try something new.  A new medium, a new color scheme, heck...sometimes just a new sketch pad or a sharpened pencil might be the answer. It just might help you climb back out of the mud. Geez --there's the mud again. I'm going to go wash my hands.

Day 9.

BTW, if you haven't checked out the amazing work people have posted as part of Inktober, you really should. Superstar Mike Ciccotello is on Instagram @ciccotello and if you want to see more of my #bunntober experiment, you can find me on IG at @jkirsch118.  Our other D2PBrs are posting art on social media too...check out the links in their profiles.

By day, Jason is an emmy nominated set designer for television, with credits that include Harry, The Meredith Vieira Show, Late Night with Conan O’Brien, and The Late Show with David Letterman. By night, Jason is an author and illustrator of children's books. You can find his debut picture book, Mr. Particular: The World's Choosiest Champion on shelves in bookstores everywhere. See Jason's work, both illustrations and set designs,  at www.jasonkirschner.com . Follow him on instagram @jkirsch118. 

Going Dark with Gouache - By Barbara DiLorenzo

Artists evolve their style. It's what we all do. We may intend to change the medium or application of paint. Or it may just happen organically, in ways we don't even notice until there is a body of work that looks slightly different than before. 

Last year I worked on two books, painted in watercolor with gouache touch-ups (RENATO AND THE LION (Viking Children's Books), and QUINCY: THE CHAMELEON WHO COULDN'T BLEND IN, little bee books). Normally, I don't use gouache much. But in the case of final art under deadline, I needed gouache to save me from having to redo pieces at the last minute. For those unfamiliar with gouache paint, it is a cousin to watercolor, but opaque and matte in final appearance. One can cover mistakes with this paint. It's not as bold as acrylic. Some genius invented acrylic-gouache, which behaves like a watercolor but then has the permanence/coverage of acrylic. But I can't figure out how to work with it. So gouache is the next best thing. 

The book experience emboldened me. I realized that I can push my watercolors darker, and bring them back with the opaque paint of gouache. I didn't realize how much this impacted my work until I recently completed three pieces for various projects. (Examples below–including a piece I showed preliminary sketches of in my previous blog post.)

While I'm not sure I have the color palettes down, there is something about the deeper range of values that I like. I've been boldly painting dark washes over the whole paper, then pulling out highlights afterwards. The one obstacle right now is using white gouache to mix with other colors in my palette. Perhaps I'll get a better effect from buying the specific gouache oranges, blues and greens. If anyone has gouache expertise, I'd love to know how you use them. 

As an artist, it is our job to embrace that inner tug to explore a new direction. We may not be entirely pleased with the outcome right away. But with time and practice, and a bit of bravery, we may find a whole new visual voice that outshines the previous portfolio. 

Challenge yourself to try something new until it works. That's what I plan to do with this new direction. Stay tuned to see where it goes!

RENATO AND THE LION (Viking Children's Books)

by Barbara DiLorenzo

Now booking author visits for 2017-2018!

QUINCY: THE CHAMELEON WHO COULDN'T BLEND IN (little bee books)

by Barbara DiLorenzo

To be released on April 3, 2018!

Barbara is represented by Rachel Orr of the Prospect Agency.

Twitter: @wavepaint

Facebook: @BarbaraWillcoxDiLorenzo

www.barbaradilorenzo.com

Process Story by Jason Kirschner

In preparation for this post, I’ve gone back and reread a few of my more recent posts.  It occurs to me that for a site who’s title includes the words “drawn” and “picture books”, I’ve done very little talk about either of those things.  I was also inspired about Diana’s most recent post which talked a bit about process. I thought I could do a step by step about my latest illustration.

I had two tasks I thought I could combine.  The primary task was to create a new summer-themed postcard to mail out to art directors.  The second, more minor task, was to supply myself with “sketches of the day” that I could post to my Instagram feed (which I’m woeful at keeping up with but follow me anyway).

I did a really really really rough sketch to just map out my idea.  It’s my equivalent of thinking out loud.  I think on the paper. It's usually rougher than rough. The sketch for this one was so ethereal and incomprehensible that I couldn't get a good scan of it.

Once I saw proof of concept, I sketched out all the characters separately-- first with roughs. This is how I always work. I draw all of the different pieces, characters, backgrounds, props on their own. Then I scan and “cut out” each in Photoshop.  I used the individual sketches for instagram posts to accomplish goal #2.
Then I basically collage the whole mess.  I enlarge certain things and shrink others.  I move the pieces around on my canvas until I have the arrangement that I like. I also play with opacity.  I like to fade the backgrounds out so focus remains on the characters. When I've got it mostly there I print out and draw cleaner versions of the characters and rescan.  At this stage I also add a texture layer over the whole thing. I really love jpgs of old papers I find online. It helps to keep the piece looking handmade and not digital.   I lock those down and start to color.

Layout with rough sketches.

Newer layout with more final sketches & texture applied. Moved some stuff around.

Character colors painted in. No highlights yet.

Here's my folder for Mouse.

First I block in the main color for each on a “multiply” layer above each character. For each character I also add separate layers for shadow (another multiply layer)  and highlight (normal or overlay layer depending).  Linking these layers per character allow me to move things around a bit when I need to.  Or I throw them all into a group folder. I sometimes add eyeballs later so I can control who's looking at who.
I also add shadows to ground the characters —although here none of them are on the ground.  Jerks.

Here's what I posted on Instagram.

I tweak things forever.  Seriously.  I can’t help myself. I’ve even moved things around since I posted the image.   The only thing that saves me from working on it forever is a deadline or a more pressing illustration.  I have been known to take out drawings from graduate school which was  <REDACTED> years ago and add some fixes.  It says a lot about me. Most of it--not good.

Couldn't help myself and kept moving things around. Here's the final. For now.

I think this was more of a look into my psyche than my process but either way I hope it was useful and/or enjoyable.  I'm always interested in how other people work.  If you ever want to share your process, let me know. 

By day, Jason is an Emmy nominated set designer for television, with credits that include Harry, The Meredith Vieira Show, Late Night with Conan O’Brien, and The Late Show with David Letterman. By night, Jason is an author and illustrator of children's books. You can find his debut picture book, Mr. Particular: The World's Choosiest Champion on shelves in bookstores everywhere. See Jason's work, both illustrations and set designs,  at www.jasonkirschner.com . Follow him on instagram @jkirsch118. 

Trophies by Jason Kirschner

I know this isn’t kidlit related at the start but stick with it.  I’ll bring it back around. I promise.

So, a few months ago I was nominated for an Emmy. 

Well... a Daytime Emmy.  Same trophy -- I swear.  Best Art Direction.  It was my first nomination and I was really excited.  I got out my tux.  I found the moth holes.  Bought another tux (and some moth repellent.)  I got on a plane and flew out to California for the awards.  It was really exciting.  Me and my show friends got all dressed up and took pics. Pat Sajak was there!  There was a buffet and everything. We took our seats for the awards and about 4 minutes into the show they announced my category.  My heart was racing and my hands grew sweaty. And the nominees for Best Art Direction are…blah blah blah.  And then…

I lost. No trophy.

Ugh.  Sad.  It’s awful to lose. And it’s especially awful to lose on the third category of the evening.  It was a long show.  It threw me into a funk (No relation to Josh) for a few weeks.  A bunch of people correctly reminded me that it’s an honor to be nominated — which it is and I am honored.  I also took a look back at the work I did this past year and I’m really proud of what me and my small department were able to do under time and budget constraints.  The work was strong.

I’m feeling happier again but there’s something about writing these blogs that makes me contemplative.  So here's what I've come up with.  I’m sure I’ve written something to this effect before, but it’s really important to take a step back and look at what you've accomplished— especially in a creative field like television …or writing/illustrating for kids.  (I did it! I brought it back to kidlit.  I told you I would.  Ugh. I can’t believe you doubted me.) 

I think sometimes we’re so busy with our heads down, doing the work and singularly focused on the goal at hand, that we don’t stop to look around to see what we’ve accomplished.  I didn’t win the award, but the nomination was amazing.  And even more importantly, the work was strong.  I’m sure any of you could relate.  When we are putting in the effort and working daily on a project, a sketch, a manuscript, a dummy; it can be hard to see the growth and achievement.  I promise you it’s there.  So take a few minutes and pat yourselves on the back for the growth you’ve had as an artist in the past few days/months/year.  Congratulate yourself on your accomplishments big and small.  And make yourself a trophy out of cheese.  You deserve it.  That’s what I did at the Emmys and no one looked at me funny at all.  I promise.


By day, Jason is an EMMY NOMINATED set designer for television, with credits that include Harry, The Meredith Vieira Show, Late Night with Conan O’Brien, and The Late Show with David Letterman. By night, Jason is an author and illustrator of children's books. You can find his debut picture book, Mr. Particular: The World's Choosiest Champion on shelves in bookstores everywhere. See Jason's work, both illustrations and set designs,  at www.jasonkirschner.com . Follow him on twitter @jason_kirschner. 

Lost in (work)Space by Jason Kirschner

My workspace. I know I'm a mess. But it's MY workspace.

Workspace, and more importantly, workflow is something I've been mulling over a bunch lately.  According to definitions I just made up, workspace is the physical space where you work and how it's setup and workflow is the way you do your work and the tools you use to do that work.  I want to be turning out new and exciting work and I want to be working in the most efficient manner. Time is, after all, money. (I'm pretty sure I made that up too.)

For those reasons,  I get antsy every once in a while and want to change everything about the way I work. I want my desk on that wall instead of this one. I want to use watercolor instead of digital color. I want shade with markers before I scan my sketches. I want to draw on an iPad Pro instead of my Wacom tablet.  As I think these things, I’m quite certain that these changes will help me work faster and/or make my work more vital. And they might? Or they might not, I guess.

There's also something to be said for comfort level and familiarity.  Knowing how to work the scanner with my elbow does help me speed things along. I’m very comfortable with my grayscale Copic markers and I know just how hard to press when shading so I don’t screw up my drawing.  I’ve also memorized the Photoshop shortcut keys to the point that my brain couldn’t tell you which key to press but my fingers know all on their own. 

Changes are good though.  I tend to make them incrementally instead of all at once — mostly because I’m cowardly and lazy but also because I like where I’m at artistically.  Some people bounce all over the place and I must admit that both fascinates and terrifies me at the same time. 

When it comes to workspace and workflow, I also feel that we, as a community, should share more. When I flip through other people’s work online  (yes — I keep tabs on all of you. ) I am always SO curious as to how they achieved this look or that effect.  I also think people are too timid to ask one another how we did things or why we did them that way.  We should share more. 

In that spirit —not that anyone asked— here’s my workflow.  I always draw using a Prismacolor PC943 pencil (Burnt Ochre) because I think its a great middle tone. I more sculpt than draw with the pencil because I draw so many damn lines to get to the right one.  I then draw over my mess with a Prismacolor PC935 and find the right lines to punctuate.  The brown falls back to a sort of shading.  I then scan into Photoshop and color digitally.  I do adjust levels but I try to leave some of the mess underneath so it still looks “homemade.”



(Here’s the interactive part)
If you have the chance to share how you make your work, do so. (Hint: There’s a comments section here.)  Also, tell us about any changes you've made recently to your workspace or your workflow and how it worked out.  I’m sure I’m not the only one who’s amazed at how you do what you do.


By day, Jason is a set designer for television, with credits that include Harry, The Meredith Vieira Show, Late Night with Conan O’Brien, and The Late Show with David Letterman. By night, Jason is an author and illustrator of children's books. You can find his debut picture book, Mr. Particular: The World's Choosiest Champion on shelves in bookstores everywhere. See Jason's work, both illustrations and set designs, at www.jasonkirschner.com . Follow him on twitter @jason_kirschner. 

(Set) Design Within Reach by Jason Kirschner

I've recently started a new day job. (woot!)  I'm a set designer by trade, and I've started on a new television show (that I think is going to be great btw) but the hours have been LONG. As a consequence, I haven't been doing much work on my books and my mind is preoccupied with set stuff. And here it is...my week to blog. It seemed unfortunate until I started thinking about the way my day job informs my night one--that is how my set design training impacts my writing/illustrating. I thought I'd share a couple of things.

My first takeaway is one that I go back to really often, especially when I'm stuck.  As a set designer, when I’m sketching out a scene-- any scene— whether it's a Late Night skit, Hamlet Act IV scene iii, or “Luck be a Lady” from Guys and Dolls,  I don't start with the set or the lighting or the special effects. That's kinda huge, no? The set designer doesn't start with the set!  So where I start? I draw only what’s necessary to depict the action of the scene. If I'm designing Romeo and Juliet Act II scene ii, I know right away that Juliet has to be up on a balcony, forlorn and wistful. Romeo is down below about to surprise his true love. Not much else is needed to tell the story in that scene. (And Baz Luhrmann would tell you you don’t even need the balcony. He did it with a pool.)   I'm not worried about what the backdrop looks like or the lighting or the style of architecture that best describes the palace. That's all icing on the cake.  The same holds true for any two page spread in any picture book. Establish the characters' relationships correctly and put down on paper only what you need to complete the action in the script. Once that's solid you can get to bells and whistles.  I always draw characters first and backgrounds second. (It has nothing to do with the fact that I don't like drawing backgrounds. I pinky swear.)

Rough Sketch "Luck be a Lady" circa 1997. Don't judge harshly

Got the characters down. The emotion is clear.  Backgrounds come later.

Here's another. Did you ever notice how most classic sitcoms open every episode with an exterior shot of the house where the main characters live? Then they fade into a wide shot of the living room or the kitchen where we can see all the characters?   I love that they take the time to do what’s called an establishing shot.  It’s on the screen for maybe a second but it's SO vital. It tells us where we are and quickly defines some parameters for that world. Maybe that status quo is a deserted island with 7 castaways, movin' on up to a deluxe apartment in the sky, or a Miami bungalow with four elderly divorcees. (I watch a TON of Nick at Nite.) Then once we understand where we are and what the status quo is, they cut to a close-up of a main character where they can do more character work. Close-ups are also better for comedic situations so you can see more detailed expressions. Conversations occur on a two-shot (where two characters are in frame.)   I think all of this applies to storytelling picture books as well.  Establish your status quo on a wide framed illustration.  Zoom in for character moments or funny stuff.  It really does work.

Establishing shot of the Brady Bunch house.

Establishing shot of Mr. Particular's house.

I think good storytelling is good storytelling and it transcends media type. I'll try to come up with a few more for a future blog.  This is all I've got for now.  Remember -- I've got that new job?  Long hours?  Geez.  Give a guy a break, will ya?


By day, Jason is a set designer for television, with credits that include The Meredith Vieira Show, Late Night with Conan O’Brien, and The Late Show with David Letterman. By night,
Jason is an author and illustrator of children's books. You can find his debut picture book, Mr. Particular: The World's Choosiest Champion on shelves in bookstores everywhere. See more of Jason's work at www.jasonkirschner.com. Follow him on twitter @jason_kirschner .

Small Crisis - by Jason Kirschner

I am facing a little bit of a dilemma right now. A small crisis of faith. I'm a guy with a family and a day job who wants to write and draw for kids. I'm passionate about it. I do it in my spare time, weekends, late nights, Arbor Day. I've got one book out and it’s doing ok.  People are buying it and based on reviews, liking it! But … it hasn’t made national news or a best-seller list but if you’re reading this blog, odds are that you've heard of it.  And I’m proud of it.  I believe in it.  I think the work is strong.

Currently,  I’m working on some follow-up projects.  I have ideas.  Lots of ideas actually, but there was one I was drawn to the most and I decided to concentrate on that. It’s the kind of story I like — silly and nerdy and a bit wordy.  I’ve finished a manuscript that made me laugh. I’m in the process of drawing the dummy now and I like how it’s progressing.

And still, my mind wanders back to the first book often.  The one that’s on shelves but not “breaking the internet” in any way, shape, or form.  This new book is written very much in the same vein as the first.  Not the same story or characters, but I think stylistically they’re cut from the same cloth.  I wonder if I’m making a mistake.  Should I infer some lesson from the “not huge success” of the first book?  Should I change my style? Should I be trying something completely different?

A sketch from the new project--and also sorta how I'm feeling (minus the tutu.)

I’m not sure of the answer here.  When I first started trying to write and illustrate books, I tried very hard to make the kind of books that I saw on the shelves. I was probably imitating more than creating.  I was so frustrated that I was making the kind of thing that I saw in the stores and yet I couldn’t sell a thing.  So I took a small leap and created something I really loved.  I honestly thought it was going to be an exercise or a practice project of some sort.  I didn’t think anyone would ever bite.  But they did!  I thought I’d found the secret.  Make what you love!

But based on early sales, not as many people love it as I’d hoped.  I’d hoped there would be one in every household across America. It didn't happen. There could be loads of reasons why.  I'm a first time author.  Perhaps I didn't market it perfectly?  I've learned a lot on that front for next time. (Also see Mike’s brilliant entry from last week for help there.)  But part of me thinks that if the work is out there and it’s appealing, then people will find it.  It might be naive but it’s the way I feel.

So…some questions.

Also from the new thing.

First off — what’s my goal?  If it’s to match J.K. Rowling’s sales, I’ve failed miserably.  If it’s to get my books in the hands of kids that might love it, I think I’ve done that. In fact, I know I have. I've seen great reviews and received kid drawings that tell me it's true.  Ding!

What to do with the new project?  Should I scrap it? Do I rewrite it and make it more stylistically different from the first?  I think I am going to rewrite a bit.  Just a bit.  I won’t make it something I don’t love or just imitate what I see on shelves but if you just ignore what you’re seeing in the world around you than you're burying you head in the sand. Ding?

So. What have we accomplished here?   Believe in your work.  Write what you love. Know the market.  Know how to market. I know all of this isn’t new ground for writing/illustrating blogs but it was my week to blog and this was much cheaper than therapy. Much appreciated and Happy (belated) Arbor Day!

Jason Kirschner is the author and illustrator of Mr. Particular: The World's Choosiest Champion from Sterling which you can now find on shelves in bookstores everywhere. Get your own copy and see more of Jason's work at jasonkirschner.com.

Risk and Style...Keeping It Real - by Deborah Cuneo

"Talking" / Ransom Gallery Show / Brooklyn NY  - Acrylic and colored Pencil

Risk

noun

1. exposure to the chance of injury or loss; a hazard or dangerous chance

  

   At any gathering of  visual creatives, the topic of style usually comes up, with the main question being whether or not an artist should change their style  during the course of their career. I've heard so many opinions on the subject  from both sides of the desk (so to speak) and everyone seems to have a valid reason for or against.

"Discouraged" - Pencil Sketch

   Deciding to change it up was not a decision I took lightly. It would mean abandoning what I knew,  what was warm and cozy and familiar for so many years, but it came down to one major factor...I wasn't getting the employment results I was looking for using my older style.

   I was also starting to let  my internal feelings of discouragement get to me, to where even it was starting to come out in my art. It became a business decision.  It would be a huge, scary risk to change my style, but I didn't anticipate any injury  or imminent danger resulting from the intended change. Other than it possibly not being well received and having to figure what direction to go then, there was really no reason not to try...so I did.

First Step - B/W Promo - Digital and Pencil

First Step - Color Promo - Digital and Pencil

  

I suppose I could have continued in baby steps,  but to go down that path meant the evolution would be dragged out...and why?  So I could delay the inevitable for another day, a month? How many more years would I be willing to sacrifice to being in artistic limbo, just so I could remain creatively cozy and comfortable in my little box that I literally painted myself into all these years? 

   The answer...none. And, It was already clear ( to me, anyway) that anything I produced that was remotely similar to my old style, would  most likely get the same results. I had to make this change count, it was the only way I was really going to be able to move toward the result I wanted. So, I put my fear aside and just jumped right in. 

Jump! - Digital and Pencil

  I tried something completely out of my comfort zone. I felt that in order to make this work, I had to stretch myself to the point of being creatively uncomfortable and bring myself to a place where I couldn't predict or control the outcome, because in that dark, scary unknown, is where all the wonderful, creative possibilities are!! 

"Little Dragon" Sky Pony Press/Color Sample - Mixed Media

A lot of this new style is tied up in the book I'm still working on, but I will be showing some of the new work at the NJ SCBWI  June conference and then updating my website shortly after that. Will my professional risk have been worth it?... I don't know.  Will  I crash and burn?...maybe. Could I end up totally flopping on my face...I suppose... but,  it could also work out really well too!  I can't predict or control the result, only put myself out there and commit to do my very best, while continuing on my newest artventure! 

Website: www.deborahcuneoillustration.com
Blog: Creating Out Loud  deborahcuneo.blogspot.com
Facebook: Deborah Cuneo Illustration
Twitter: @debcuneoart

The Art & Fear of Crit Groups - by Diana Ting Delosh

Moi at 9 - © Diana Ting Delosh

I've always thought of art and story making as solo activities and just shown when you were ready. As a student, you created your art and brought it in for a crit once it was done. Back in my school days, some of the crits were quite savage and not always constructive. Thankfully, the overall experience of being among other creatives striving towards similar goals was very inspiring and empowering.

Dragon Picnic - © Diana Ting Delosh.
Isn't it better to be told your dragon has two left feet before you see the big art director or editor?

Finding my crit group took awhile. Personally, I found the large online groups of over 100 members too impersonal. The groups that met in person (and I've been in four of them over the years) fell apart over time due to conflicting schedules. Currently, I'm in a small crit group that meets online via Dropbox and e-mail. Seems to work well for our deadline filled lives.

Whispering - © Diana Ting Delosh

 I'm learning to trust the crit group process. Learning that all suggestions have merit. But it's up to me to implement them or not. At the very least they point to where I have a clarity issue. Validates what you feel and makes you realize you're not crazy.  Whenever possible, I now try and show my sketches/story drafts to my group with enough time to allow for me to digest their comments and do something about them before my portfolio review, submission, grant application, etc. This hasn't  been easy.
  

Cheetah Stretches - © Diana Ting Delosh

One of the side benefits of being in a crit group is the inspiration that comes from some friendly competition. How can you not be pushed and stretched to create better/more when your buds are making amazing awesome art and juggling crazy busy lives.

Website: dianadelosh.com

Illustration Blog: dtdelosh.blogspot.com

Twitter: @dtdelosh

Creating Characters - by Deborah Cuneo

So, the theme on D2PB  this round was  various aspects of our process.  I thought a lot about the various aspects of my process...inspiration, sketching, concept, time management, taking art to finish...  and one part that stood out and was the most interesting to me, was the creation of characters. It's absolutely the best part of what I do!!  It's also the thing I think I spend the most time on whenever working on a project. I'm not sure about anyone else's approach, but this is how I do it.

I am a very visual thinker so when inspiration hits for a character, my idea usually comes in the form of a face in my head and I need to "get it down" using whatever resources are at hand,  before I lose it! 

Eraser Goat - self explanatory?

Then I can jot down some more sketches later, when I have more time...and a pencil!

More goat Heads - This time with the pencil!

 But the image I initially come up with is not necessarily the image I end up with. It really depends on what's appropriate for the feel of the story.

Beagle with Ribbon - First Round Sketch

Beagle with Ribbon - Second Round Sketch

Beagle with Ribbon - Final Art/ Acrylic and Colored Pencil

One of  the most important parts  for me ( and most fun!), is that my character be able to react to what's happening.  I try to envision him/her/it in different states of emotions.

Duck Character Sheet - Acrylic and Colored Pencil

The next part is the body and a basic idea of what it looks like. I've found that occasionally creating a model  is sometimes helpful,  but it's never an exact version, just some basic shapes and placement to help inform my sketching.

Duck Model - Air Dry Clay

Little Dragon Model - Air Dry Clay

After I get basic elements, I do a little research to help  refine the image.  If the character is something that doesn't really exist, it's more of a Frankenstein-inspired drawing.  In the case of LD, I looked to things like dogs, cats, dinosaurs , bats, lizards (to name a few),  and incorporated that into a small, age appropriate child. From there I draw the character in different views.

  "Little Dragon" - Sky Pony Press -  Character Sketches

Now I'm ready to move on to the story. My character will get a few more tweaks along the way in the final sketches, but by the time I get to this point, I have a pretty good idea of who the character is visually and I'm ready to get down to business!  

"Little Dragon" - Sky Pony Press - Sneak Peek...shhhhhhhhh.........

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