The idea started after seeing weeks of wildly colorful #CopicART tweets from graffiti artist NoverNYC. (Here’s a colorful Twitter gallery showcasing his recent work.)

We’ve got the whole crew sharing wisdom: NoverNYC, TESKoner, CortesNYC and Viper625.   

Viper625

1. How did you get started with art, who were your earliest inspirations for creating artwork?

Viper625: I got started sketching letters after seeing the fourth issue of 12OZ Prophet. I had always been interested in graffiti but really didn’t know how to start. That is when I began to practice calligraphy. From calligraphy I became familiar with letter structures and somehow it turned into graffiti. From then on it’s been letters, letters and more letters.

CortesNYC: I used to admire the art of Mode2, Seen, Simon Bisley, Giger, Dali, Diego Rivera. My art was also inspired a lot by musicians like Eric B and Rakim, Public Enemy, Cypress Hill, Nirvana, Smashing Pumpkins, all that early 90′s rap and rock.

TESKoner: I’ve been into art as long as I can remember, so I have no clue. Whatever it was, I’m glad it happened. As for early inspirations, the first thing that jumps to my head was reading about the Sistine Chapel paintings as a youth. That scale and scope of work floored me.

NoverNYC: I got started with art by drawing from comic books. Owning so many comic books, I was drawn to start drawing, myself. Besides comic books, I was always interested in graffiti. Coming from the Bronx, I was always inspired by graffiti. One person that inspired me to do graffiti was kase2, who lived in the same neighborhood, and I used to watch him paint all the time.

CortesNYC

2. Who inspires you now, how do you stay creative, what keeps you going?

Viper625: There are so many artists that inspire me. Graffiti artists all over, graphic designers, traditional artists – it’s difficult to name them all. I find a lot of inspiration in colorful nature photos and architecture. Nature is a great place to find effects for letters as well as fill color combos. I have been through different names looking for the letter sequence that I enjoy. I believe there can be a balance of crazy detailed letters and creative art. I try to keep moving and not be an artist that has the same style for 20 years LOL (not that there is anything wrong with that). That is what keeps me going.

CortesNYC: Nowadays, I’m inspired by movies, social media, and traveling. I’m very active on YouTube. My channel is a big part of my creative growth. I have a series called GraffTour that documents all my projects, traveling and painting in different states and countries. I have also gained an appreciation for music acts like Pearl Jam, Sadat-X and KRS who continue persevere even after the spotlight fades. Their careers demonstrate the importance of continuing to mature and inspire the next generations of artists.

TESKoner: There’s really too many to list. I feel creativity is nurtured by just sketching every day, and when your not sketching, thinking about sketching. staying in the grind whenever possible. As for keeping me going, its definitely my need to create a better piece than my last. Its such a great feeling when that is accomplished, at the same time, a crushing defeat when I fail. It’s a double edged sword mastered only with stubborn discipline.

NoverNYC: Right now I get my inspiration from so many peple, some are: Totem2, Daim, Peeta. I also gain inspiration from the other members of the group I’m a part of. They all do really amazing work. What keeps me going is how far I can take what I’m working on, what kind of effects I can create. When it comes to graffiti, it’s a form of art you can only get better at over time.

TESKoner

3. What role do black books play in your art making process?

Viper625: Black books/sketch books are the foundation of all my pieces. It is the place where I am able to experiment with styles and ideas that can later be turned into crazy pieces of art. Practice makes perfect.

CortesNYC: Black books are everything to me, they are where I found my creative voice. My father was an architect and he had markers at home, so I learned quickly to use them in black books. It’s where I document my feelings and inspirations. It’s a sacred creative space for me. Growin up sharing space all my life with my brother or roommates, I never had space to paint or create big projects. So, I knew I could escape into my black books and feel like I was communicating on a large scale with the world. No idea was too small or silly to be explored in my black books.

TESKoner: The book is the drafting table, the work out room and the think tank. Its a place to hone your ideas, create new style, develop existing style, and most importantly just to exercise your art.

NoverNYC: Black books are something to keep the edge going, a sketchbook to perfect my skill before I put it onto a wall.

4. Do you consider filled black books stand alone works of art, or part of a larger process?

Viper625: Black book pieces are definitely pieces of art, but they’re just practice for a larger creation.

CortesNYC: To me, black book artistry is it’s own genre. Just like custom airbrushing cars, If black book art is done right, it can leave a stronger impression than a polished canvas. Black books can communicate directly and intimately from author to reader in a way that public street art can’t. Nowadays, I approach my black books like a musician entering a recording studio, and I approach my graffiti walls like it’s a public concert. I don’t put one over the other, I need them both to continue growing as an artist. When I paint walls, I am fueled by the memory of the experience, sharing the time with my peers, the challenge of the scale and working with the environment. Black books are a technical exploration of my ideas. I am working alone, composing layouts, and storing my memories. My books are a resource I can always go back to and revisit easily, whenever I need inspiration.

TESKoner: Absolutely, it’s a work of art just to fill one if you ask me. That alone is an act of discipline – mainly because, by the time I’m nearing the end of a book, I usually dislike the work in front of it. For me, that makes it difficult to even continue the book, it’s easier to just get a new one. I had been writing for a good bit of time before I ever attempted to fill one book straight through.

NoverNYC: It isn’t only a filled sketchbook, but a blueprint to what we plan on doing. It’s also part of a bigger process because for most artists, it’s the foundation of most wall art, where a wall piece might start from.

NoverNYC

NoverNYC

5. Have you always been drawing in sketchbooks this way?

Viper625: Yes. Since I started drawing letters they’ve all gone in sketchbooks. It’s just the way it goes. I have had over twenty sketchbooks over the years. Some have been filled all the way while others have only had a couple of crazy 2-pagers. Most of them are out somewhere making their rounds.

CortesNYC: I have many types of black books, I have books filled with doodles and random notes, ideas, scribbles and tags. I have books in which I’ve forced myself to complete ideas and finish entire compositions, page for page. I have other books filled from front to back with life drawing and nude figure sessions all done in straight ink. I have other books that I carry with me on paint tours to have my peers sign and to take notes along my trip. I try to designate a task for each book in order to learn new skills and keep my inspirations organized.

TESKoner: I’ve been writing for 15 years, I’ve filled eight books completely.

NoverNYC: You get better as you progress. That said, I haven’t always worked on black books, but over the years I have filled some. I’ve also put a lot of work in other writers’ black books.

6. Do you do any planning sketches before you start hitting the books?

Viper625: When I start a sketch I use pencil. That allows me change lines as I please. Most of my sketches start as basic letters and I change/erase lines as needed. When I feel a piece is finished I start coloring and then ink it. My sketchbook has tons of messy sketches and notes in it sprinkled with crazy sharp colored pieces.

CortesNYC: I usually just hit the books straight up, sometimes straight with ink. Other times I sketch lightly with pencil and doodle quickly to come to a solid concept. I’ve even tried sketching with my eyes closed, just to jot down a messy idea. Afterwards, I can analyze the sketch strictly for the content, not how it looks. If the idea is still valid, I try to sketch it in a good book properly.

TESKoner: Sometimes I’ll get an idea when I don’t have access to my book, so I’ll start planning it in my head. But most of the time, the sketch evolves in the book.

NoverNYC: The sketches in the book are the planning process before I begin the real work on a wall, that’s where I see what colors work best, and try out new or different styles, such as 3D, wildstyle, or characters.

Viper625

7. Is there anything you’d like to say about the recent increase in awareness about street art?

Viper625: It’s great that street art is becoming more accepted by society as an art form. 

CortesNYC: I’m glad that Street art is becoming so popular, it’s a huge change from what I used to experience in the 90′s. I’ve had to get used to the spectators at walls, and the questions from fans. I was brought up in a world of graffiti that was very private and secluded.

TESKoner: It’s not going anywhere.

NoverNYC: It’s great that it’s being paid attention to on a regular basis worldwide. It’s being used by different high fashion designers, and that’s opening doors to all graffiti writers to use their art as a means to make a profit off of their own work, and gain a platform of respect as a widely accepted form of art.

CortesNYC

8. Anything you’d like to say to people who simply perceive street art as vandalism?

Viper625: Meh, good for them.

CortesNYC: I don’t understand how anyone in 2012 would not be aware of all the different types of Street Art/Graffiti. I feel that anyone who is against street art nowadays is just playing devil’s advocate to create controversy. In the 70′s-80′s, New York was truly covered in random graffiti art and other vandalism, and I understood why a spectator would be confused. But nowadays, most major cities have cleaned themselves up and graffiti art has found places to evolve with pop art, muralism & commercial illustration. Graffiti in 2012 looks NOTHING like the scrawled main streets of the 80′s.

TESKoner: Not particularly. People who have those feelings have their minds made up and I couldn’t care less to change it.

NoverNYC: For those who have that kind of opinion, I don’t have much to say. If it wasn’t for the vandalism that started out graffiti, it wouldn’t have reached the magnitude it’s at today, and I myself probably wouldn’t have had a part in it.

TESKoner

9. Do you ever consider your work to be at the cutting edge of typography?

Viper625: Not really. It is a passion, I’m not out to prove anything.

CortesNYC: Some of my graphic treatments and logo style treatments are definitely experimenting with typography. I’ve done lettering for rappers like Jeru The Damaja, Lords of the Underground, Mad Skillz, and Keith Murray. My graffiti letter forms are born out of organic handwriting styles. I mix tags, with serifs and Old English flares. I also warp the letter shapes to become more animated. My graffiti piecing style letters have been described as Metallica-esque because of the razor like tips and arrows.

TESKoner: I don’t consider my work to be the cutting edge of anything. I’m just a humble guy who has this fascination with letters, nothing more, nothing less.

NoverNYC: Yes, one of my main goals is to manipulate my tools of choice to create realistic scenes or effects like 3D, steel, water, rocks, metal, etc.

10. How can an untrained viewer learn to decipher some of the wilder letterforms?

Viper625: Most of the time “wildstyle” letters have more of an abstract letter structure. Sometimes they’re an “idea” of a letter. Try to look at the letter without all the add-ons if possible.

CortesNYC: Just like in any art genre, you have to first become familiar with the movement, and then with the artist’s individual contribution to it. Once you inquire about the artist’s name, then you can begin to find the letter forms. There is a misconception that graffiti is a hidden code. Graffiti is not supposed to be a trick. Graffiti is a genre of lettering, and once the viewer embraces the genre, and discovers the artist’s name and style, they can begin to decipher the letters and appreciate the craftsmanship. 

TESKoner: That can be difficult. Every style is different, some more legible than others. I suppose one way would be to acclimate yourself to the art form, perhaps starting a black book for writing graffiti yourself.

NoverNYC: From an untrained eye, it can be visible, for some people it isn’t. The best way to decipher what that work of art represents, you have to take in everything you’re looking at. Its colors, its shapes, the mood it puts you in, or what it makes you think of, as it would be with any other form of art. But it can be taught to be legible.

Nover NYC

11. Do you ever find yourself obsessing over letters, like bending and warping them in your mind?

Viper625: Yes. Before I start a sketch I imagine a basic letter in a way I haven’t done before. Slanted up, down, backwards, etc. Sometimes I get a headache before anything is on the page! I try not to use letters I have done before. Recreating letters will not get me anywhere. Sometimes the first part of the sketch is the most difficult.

CortesNYC: Only when I freestyle off the top of my head. That’s when I occupy my mind with the different letter movement to best fit and interlock the entire piece before even touching the paper or wall.

TESKoner: Frequently. That’s pretty close to what happens.

NoverNYC: Yes, all of the time, that is my goal, to create an individual style and call it my own. That is one of the main concepts of graffiti, to be known individually for our own craft, to bring something to the table.

12. Should people give graffiti writers respect from an artistic calligraphy and lettering design perspective?

Viper625: Of course. Graff artists are letter designers above anything else.

CortesNYC: I have personally applied a lot of the calligraphy and typography concepts that I’ve learned into my graffiti style. I feel non-graffiti artists see the craftsmanship and appreciate technical skill but don’t realize that most graff writers incorporate formal design principles fluidly into their street style. 

TESKoner: They’re really different processes, so that’s up to the beholder. Personally, I usually only hold the respect from other writers in any relevant regard.

NoverNYC: Of course, even if you don’t agree with the illegal aspect of graffiti it deserves its respect from all aspects of the lettering or calligraphy perspective.

CortesNYC Art

13. Do you ever consider graffiti writing to be contemporary calligraphy?

Viper625: That is what graffiti is all about – the letters.

CortesNYC: When it’s hand scrawled tags, I can definitely see the expressive nature of their calligraphy.

TESKoner: There are some similarities indeed, particularly in certain handstyles. However graffiti and contemporary calligraphy doesn’t seem like a reasonable comparison to me, just my opinion.

NoverNYC: It is already considered contemporary calligraphy, right now it’s being used in all forms of mainstream art and fashion, fonts being created to look like different types of graffiti styles.

14. What’s the future of graffiti, where is street art heading?

Viper625: I see street art getting more colorful and abstract. Styles will continue to evolve and become more technical. It would evolve a lot quicker if artists would get out of their comfort zones.

CortesNYC: I am guessing it will continue to gain mass appeal and become more corporate. I have never seen so many products and merchandise in the graffiti scene, as i do now. There are so many brands of paint and other vendors clinging on to street art. This new commercial environment is raising up a young crop of street artists that never experienced the old stigma of vandalism or gangs. So i’m looking forward to seeing what the next wave of artists bring to the movement.

TESKoner: (no comment)

NoverNYC: The future of graffiti is heading into becoming something more accepted, it’s heading in the right direction. I hope it opens more doors for graff writers to be able to express their work. I also hope that the future of graffiti is headed into a time where people with a prejudice against street art can understand it and business owners will be more open to having graffiti on more walls.

TESKOner

15. Why do you like using Copic markers in your black books?

Viper625: The rich colors, amount of colors available and they blend easily. Good solid color is what I look for. They are a great tool for any artist. Other markers don’t compare as far as quality.

CortesNYC: Copics tend to leave a smooth coat of rich color where other markers might streak. I love the variety of tones and tips. The brush tip is my favorite for fast marker comps. I’ve been slowly building up my set. I hope to have a complete set by the end of this year.

TESKoner: They’re the best markers I’ve run in to at this point. Refillable, excellent color choice, and the versatility of the brush tip is the icing on the cake. I also love the fact that their shape prevents them from rolling off my table. In short they’re the best, period.

NoverNYC: Out of all the markers I use, Copic markers give me the most control, I get the best effects and illusions out of them. They bleed the least from all the other brands I use. They also have the best color selection I’ve seen. Most of my greatest pieces have been done with Copic markers.

GWB on Tumblr

Find Viper625 here.
Find CortesNYC here, on Twitter and YouTube.
Find TESKoner here.
Find Nover NYC here and on Twitter.

Materials:

• Copic Multiliners – Sky blue, Orange, Cool Gray, and Sepia
• Copic Sketch markers: B91, B93, B95, E30, E31, G00, B000, R20, Bv31, Y21, YR23, YR24, Y32, (and many more I grabbed as I just kept colouring)
• X-Press It Blending Card and Aquabee Marker Paper

Copic Multiliners are inking pens that are designed to work with Copic Markers. The pens come in a multitude of sizes and colours. Once dry, the ink is alcohol-proof so it won’t smear on the right paper when you colour over it with your Copics.

I use Copic’s coloured Multiliners in a variety of ways; sometimes to help create a sense of depth in an image, sometimes to just soften the look of the image or add some nice accents. It all depends on the look you’re going for. I use them in a few different ways, so I’ll show you a little bit about each technique.

In my illustrations I very often ink my characters in colour to distinguish them from the background, and if I want a less graphic/comic book style to my illustrations.

For this image I used a variety of colours to make her look softer. Sepia for skin, cool gray for hair (mainly because I didn’t have a purple, lol) and blues and orange for her clothes.

I was careful while inking to be conscious of areas of overlapping features. See this example where her eyebrow is on the edge of her profile, so I stopped the skin colour at the eyebrow.

Its important to note that these pens are somewhat transparent, so when you overlap the pen stokes you actually darken the colour a little so be careful of creating little dots where lines overlap by picking up your pen at the end of a stoke instead of holding it on the paper.

You can also use the coloured multiliners to add accents to a black inked image. See this example where I’ve used the colours to embellish her outfit.  It adds a nice bit of detail without being too bold.

Now, the best excuse I can come up with to use coloured Multiliners is to create effects. I use them. In my comics all the time for inking the mountains in the distance.

See how the cool gray makes the mountain less bold? Using black lines in the foreground and light gray lines in the background, gives a sense of depth. If the mountains were inked in black, I think it would be too harsh of a line and would cause distraction.

In this panel here I’ve used the cool gray to ink the entire panel because it’s being viewed through a car window. A hazy gray line can be exactly what’s needed in certain situations.

So there you have it! Colour Multiliners are one of the most versatile tools in my Copic arsenal! There are also many different types of nibs you can get. Think about brush tips if you like the way they look, too!

For the very latest from Jayleen Weaver and GuruKitty Studios, visit these sites:
http://copiccolor.com/markerguru
http://gurukitty.com
http://markerguru.blogspot.com

https://www.facebook.com/gurukittystudios

Talented comic artist Todd Nauck will be hosting a special Q&A, signing and artist workshop event to celebrate his first art installation in an accredited museum, the Bakersfield Museum of Art. The exhibit opens February 4th. 

Todd Nauck has over 17 years experience in the comics industry. If you’re into comics, you’re probably familiar with his work for Image, DC and Marvel comics - Amazing Spider-Man, Friendly Neighborhood Spider-Man, Teen Titans Go, and Wild Guard, Young Justice and the Spidey and Obama teamup.

When he travels to comic shows and conventions each year, fans commission him to create artwork rendered in Copics.

Recently, we were lucky enough to chat with Todd on Twitter about his art making process, his Marvel Custom Solutions projects, and the artwork he created for Extreme Makeover: Home Edition, Lance Briggs (and others) for the NFL Superbowl, and ESPN.

We asked him to explain his unique creative process. His approach – which involves first defining the form in color – deviates from the more conventional approach of starting with pencils, following up with inks, then finally adding color. Seems that @RAHeight also likes working this way:

Judging from the dozen or more images he started posting, this method works very well for him. He chose the subjects from recommendations from his army of loyal Facebook and Twitter fans.

A few images unveiled during the conversation (see all of them, here):

During the Q&A session, Todd was answering questions from our audience. @Darksparkle asked about skin tone colors:

Next, @WorkingClassGMR asked:

Fellow Copic-loving artists @AH_AdamHughes, @CatStaggs and @MahmudAsrar each got shout outs for being inspirational Copic artists.

If you love comics, follow these great artists and let Todd know you enjoy his Copic sketch cards! He’s super interactive, and who knows – perhaps your suggestion will get chosen the next time the request lines are open…

On that note, what are your favorite comic titles? If you commissioned an original Todd Nauck Copic sketch, who would want him to draw? Let us know in the comments, below.

Todd Nauck online:
Website: The art of Todd Nauck
Facebook: Todd Nauck
Twitter: Todd Nauck

More information about the special Q&A, signing and artist workshop event at the Bakersfield Museum of Art.

Recently, reading a collection of popular Japanese ghost stories called Kwaidan inspired me to create a comic based on the work. Since these stories were collected and translated over a century ago, I wanted to use traditional illustration techniques and media to honor its rich history.

With the help of Copic Multiliners, the lettering, background textures and shading tones have all been hand rendered using pointillism and hatching. By mixing simple techniques and rendering them using multiple pen sizes in the same element, I’ve added greater levels of depth and subtlety to these pages while keeping the style personal and unique.

COPICS Used: Multiliners of the following sizes: 0.05, 0.3, 0.5, 0.8, 1.0 and Brush-M

To begin my project, I create a storyboard on standard copy paper folded into a half-size booklet (4.25″ x 11″). This allows me to read it like a finished comic. I can see how things flow and make changes before spending too much time working on the details.

From there, I sketch rough pencils on Bristol board at 1.5x the finished printed size. I work them until they’re ready to be inked. For this step, I prefer hot press (sometimes called “plate finish”) Bristol board due to its smooth surface, heavy weight and durability when erasing and inking.

I use non-photo blue guidelines to mark the comic’s live area and trim guides. Turquoise colored Multiliners are perfect for creating guidelines when preparing your own custom boards. These blue lines will disappear when scanned, leaving only the black ink ready to be printed.

 

Figure: For basic line-work, I use the 0.05 Multiliner SP due to its precise nib that gives me really fine detail which stays razor-sharp at the reduced, final comic size. Before adding shading or texture, I complete all of the figures on the page. Once the outlines are finished, I move on to the shading and texturing of the figures.

Background Basics: At this stage, I only add basic texture and shading to the backgrounds. Leaving the backgrounds until after all of the figures have been finished lets you shade and texture them appropriately so they don’t overpower the characters.

Fabric: By combining pointillism and hatching, I create a smooth base shading with only 0.05 on areas like this kimono, followed by pointillism layers using 0.3 and 0.5 to create shadows and folds in the fabric. This is a great low-tech way to do your own shading screens (screen tones) directly on your artwork. By varying your lines and point density, you can simulate different materials, indicate the draping of fabric and create the illusion of volume through light and shadow.

Backgrounds, leaves: Once the figures are shaded, move to the backgrounds. I did the leaves using the Brush-M because its flexible tapered brush nib allows me to create that classic leaf shape with just a gentle press on the board. For each leaf, I held the pen at an angle and dabbed at the paper lightly, compressing the brush tip only hard enough to leave as large a mark as needed. To get a more realistic look to the leaves, I rotated the direction of the pen so the leaves weren’t all pointing in the same direction and varied the brush angle and pressure to vary the size or shape. The shallower the angle, the longer the leaves. I also created perspective by making the leaves smaller on trees that were farther in the background.

Grass: I rendered the grass with three sizes of pens, beginning with 0.05. By pressing the pen to the paper vertically and quickly flicking the pen upwards by rotating my hand backwards, I created random tapered lines. By flicking the pen, it caused the tip of the pen to lift in an arc from the paper, naturally tapering the tip of the line. For a more natural, grass-like look, I added in 0.3, 0.5 and 1.0, especially when creating the shadowy area and repeated the process a few (thousand) times! To get a smooth texture on this stone wall background, I used 0.05 for crosshatching.

Crosshatching: This is one technique that Multiliners excel at because of their consistent line thickness and ink density which is why I recommend them for anyone wanting to achieve this style of shading. By filling an area with an even layer of parallel hatches, the shading looks smooth. To create different shades or a gradient, I hatched in one direction and then again at a ninety degree angle. I repeated this in a third direction, or as many as I needed to achieve the darkness level I was looking for. For the textured surface of earth and rocks at the base of the wall, I used 0.05, 0.3 and 0.8 to create multiple layers of pointillism with a random placement of points. By intentionally building up 0.3 and 0.8 points in certain areas, I was able to simulate peaks and valleys which either caught the moonlight or were in shadow.

Lettering: Even though this page has no standard lettering on it, I wanted to show an example of lettering using Multiliners from a different page. Drawn at 1.5 times the finished comic size, I laid down parallel nonphoto blue lines 3mm apart for the lettering and 2mm apart for the leading (the vertical space between each line of lettering). Since I was going for a clean, mono-weight lettering style, I simply drew out the letters using a 0.3 for standard text and a 0.5 for bold. In this case, the Multiliners beat a traditional nibstyle pen and ink’s varied lines.

As you can see below in the finished page, basic illustration techniques can be taken to the next level simply by using a variety of Copic Multiliners. By switching between pens, you can add as much depth as you need to set the mood for your piece.

What Multiliner techniques do you use? Let us know in the comments, below.

For more from Alex, visit him online. Enjoyed this post? Feel free to let him know.

Website: http://AlexHeizer.com/
CopicColor: Alex Heizer
Twitter: @AlexHeizer
Facebook: Alex Heizer
Google+: Alex Heizer

Largely self-taught illustrator Drew Blom talked with us about having work curated into the Art for Hope exhibit, his art making experience, and using SketchBook Pro Copic Edition.

Congratulations! How did it feel to be approached by Autodesk for this art show?

I was contacted by Chris Cheung at Autodesk to see if I was interested in contributing a piece for their Art For Hope benefit book in partnership with Viz Media. It was right around the time the Copic Edition of SketchBook Pro (SBP) was released. I planned everything digitally, printed out and did a traditional graphite rendering, scanned back in and used the new Copic settings to create the colors for my piece.

I was pretty humbled to asked to be part of the Art For Hope book. It’s a great cause, I was excited to work on the piece  – and excited to hear it was selected. It was quite an honor.

Unless you’re a big name who’s having their work reviewed all the time it is easy to work in a vacuum. I’m not a big name so it’s kind of fun to see that the piece is making an impression on others.

Anything you’d like viewers to keep in mind while viewing your piece?

The piece was created as a cover for my story Calvin Hedge and the Iron Golem. It’s a story about hope, so it was a natural fit for the anthology. The story is intended to be the first of a trilogy of YA fantasy novels. I am writing and illustrating a children’s book as a precursor to the world and characters early next year. The characters in the image were not just put in to fill the composition. They all have a part in the story. Knowing who the characters are really helps me as I work on the actual piece.

Calvin Hedge and the Iron Golem, Graphite, Strathmore 500, Digital, 11″ x 17″

How do you normally go about art making?

I use digital drawing tools like SketchBook Pro for planning because it’s easiest to change, but for the actual work (rendering and line art) I prefer traditional media.

Every artist has a preference for tools and it usually winds up being the ones they have the most control over. Graphite and colored pencil are my go-to most of the time. Markers and pen-and-ink techniques are also a part of my process. I like the digital tools available because of the speed and ease of making changes. But I am still a sucker for the texture and depth of traditional media. The computer does “perfect” really well. But the hand of the artist is more readily visible with traditional media.

I did a talk recently explaining the process a little bit here. My part starts about 20 minutes in:

I use traditional Copic markers as well and am planning on using them as a monochromatic underpainting layer for a children’s book I’m writing and illustrating. After that I go in with digital color, similar to the SketchBook piece. I just need to start building up my grayscale collection of Copics.

Underpainting is a technique that has been around for a long time. In traditional oils it is used to define value and texture before a full-color realization is done over the top.

Calvin Hedge and the Iron Golem, underpainting

With the piece above, I used graphite pencils for the values, lighting and materials. It’s my version of underpainting and brings in the texture of the traditional media I’m working with.

With my upcoming children’s book I’m exploring a new process where the initial planning of the composition is done with SBP. The piece is then printed off and traditional Copics are used to lay in value, lighting and texture to the scene. Once the values are defined and the edges are contained with colored pencil the piece is scanned back in and a full color treatment is done digitally. This allows the texture of the paper and the markers to build up as they naturally would in a 100% traditional piece but also allows for the speed of doing final colors digitally.

What makes Copic your marker of choice for that?

The Copics blend very well, and with a set of grays you can lay in value incrementally. I like to feel in control as I’m creating the piece and the Copics are very natural and easy to reign in.

Have you been using SketchBook Pro (SBP) very long?

In one way or another, I’ve been using SketchBook Pro since version 1.1. I started out using it for storyboards but now use it for a lot of other things like planning out my compositions and coloring my final pieces.

How about SketchBook Copic Edition?

I picked it up the day it was released. I did a pretty quick update when the announcement was posted.  I already was using the markers so it was a natural transition.

It’s is a very natural sketching tool. Because I work on a tablet computer, I appreciate the gesture-based navigation. For coloring it is a bit different than I’m used to for my comic work, which is based on laying down flat color for selection and then building up volume. Its closer to traditional media which makes it very easy to get started with. You can tell the software was developed from an artist’s perspective.

The Copic presets are helpful as well. The palettes make sense and are great for narrowing in on a limited palette. The brush presets make the transition from traditional to digital media pretty smooth.

Any advice to people wanting to give SBP Copic Edition a try?

If you’re used to traditional Copics you’ll be familiar with the color palette. And the actual use of the digital preset brushes is pretty close too. Just like with traditional markers you can’t lay in light color over darks. It was a bit odd at first because I was used to standard digital tools, but over time it became an advantage because it kept me in the same mindset from traditional to digital.

Anything else you’d like to add?

Thanks for taking the time to talk to me.

___________________________
Connect with Drew online: http://about.me/drewblom

Tell us a bit about yourself!

Well, I’ve been drawing since I was about 5 years old. I would copy cartoons that I saw on TV . I always seemed to be drawing the weird characters or bad guys in the shows. When I got into middle school I was introduced to graffiti and was hooked. I didn’t just like writing on walls though, I loved the characters you would see and the crazy colors and letters. I kept trying to improve my style through out high school and even after. I finally realized that art is what I wanted to with my life so I went to the Art Institute of LA. I didn’t finish because the school headed in a way that I didn’t like, but what I did learn really helped me grow as an artist.

What are your biggest sources of inspiration?

Graffiti, music, monsters/ aliens, nature and lots and lots of cartoons.

How do you describe your work?

I like to create a world for my characters, even if the background is simple. I usually put them in a very isolated environment with islands and a dark space-like atmosphere. My characters can be weird, and sometimes gory. Sometimes I like to give them a storybook-like feel to them.

How do you incorporate Copic products into your work?

The backbone to all my pieces have to be the 12 C set of Copic Wide markers, as well as the blending marker. These are what help me get the shading and rendered look to my work. The fact that I can refill these markers is great since I use them A LOT.

What are you working on right now?

Right now I’ve been working on designs for people. Usually t-shirts, or band cover/ logo designs. I am working on new pieces for a featured artist spot coming up in October at The Hive gallery in Los Angeles. Also, a friend of mine is having a show in Dec. at the GCS Gallery in Santa Ana, CA, where I’m going to have about 6 new pieces. On top of this I try to work on my personal drawings when ever I get a chance.

Can you tell us a bit about your future goals? Where do you hope to go with your artwork?

I plan to continue to show my work in galleries and hopefully get marker drawings to be seen as more of a fine art. I also have been thinking of coming out with a comic or short story of my main character, the 3 eyed elephant. Another thing I’ve been working on is bringing out a line of t-shirts that are all my drawings/ designs. I already have some stores where I sell shirts with my elephant logo on it. Another thing is sculpting some of my characters and try to bring them to a 3d world. I want to do everything!

Any words of advice for new artists?

Draw, paint, sketch… whatever it is you love to do, just do it, and do it everyday. Keep trying to grow and look for new inspiration everywhere. To me it feels great when I see my improvement, or find a new technique in creating my drawings

View more of Ivan’s work:
http://www.3rdiartist.com/
http://www.facebook.com/3rdiart

Tell us about when you started drawing, and how you became interested in Manga style art?

My mom tells me that I was drawing ever since I was old enough to hold a crayon! In grade 7 my friends and I started drawing cats. But then I was worried that I would become “the crazy cat lady” so I started to sketch people. In grade 9, someone told me I looked like an anime character named Misa, so I started looking at some of the manga and watching animeonline. I fell in love with it instantly and started collecting manga. Later, I decided I wanted to create my own characters.

That seems like a pretty natural progression. How and when did you come up with the idea for PaigeeDraw?

When I decided I wanted to learn to draw Manga, I was frustrated with the tools and books available. I felt that the books I found showed the finished product but didn’t explain the process of how to get there in enough detail. So I started collecting manga comics and taught myself. Later, my friends kept asking me to teach them, so I approached my dad to help me find a way to make it easy for anyone to learn how to draw.

So what makes PaigeeDraw different from other teaching tools on the market?

In PaigeeDraw, I break every character down into as many as 29 steps, and provide instructions and tips each step of the way. I also provide detailed tutorials on how to draw hands, eyes and faces. Also, PaigeeDraw teaches users how to hand draw, not rely on digital drawing tools or expensive software like Photoshop.

Do people need special supplies to get started, or can they use what they have at home?

All you need is a pencil and a piece of paper to get started. But manga looks best using special markers and marker pads, which are all available on PaigeeDraw.com When I was learning, my mom had to drive me all over town looking for art supplies, so we sell starter kits that make it easy for people to get started.

The kits you sell to go with the application come with Copic markers. How did you first come upon Copics, and why do you continue to use and recommend them?

I first came upon Copic Markers from DeviantArt. Many artists that I love are on DeviantArt, and most of them prefer to use Copic markers when they use markers. I have tried a number of other markers, and Copic are my favourite! They are very reliable and do not streak as much as other brands.

Which part of drawing a character gives you the most trouble and how do you overcome  that challenge?

Hands and feet still give me the most trouble. Like most artists though, I love drawing hands. I look at images from artists I look up to. I always reference them for difficult poses, and for practice.

Do you draw your characters based off of real life experiences and people, or are they random ideas from your imagination?

Imagination! Many of my characters are based off of my dreams. Reading manga comics and watching Japanese Anime inspires me. The characters from the application are based on individual poses or hair styles I like. Sometimes, they are based on fashions that I have seen.

I’ve heard that you have a name for your character in mind, before you draw him or her. At what point do you know what colors you want to use for a character?

I usually just play with the colors while creating the characters. When I created the PaigeeDraw application, I tried to use only a few colors, so that people could draw the character without having a huge Copic set.

We know you’re great at creating mango character, and are considering Fashion Design school in the future. Do you have any other interests or talents that we may not know as much about?

One of the other things I like to do is bake. I have a lot and am getting quite good at it. I’ve made Melon pan, cream puffs, cookies and cakes. I plan to tackle macaroons and chocolate mousse in the future!

My passion is still art. I have recently been practicing with my airbrush! I have not included backgrounds in my application yet, hopefully we will get there in the future.

We’re thrilled to announce a very exciting relationship with famed creature designer Terryl Whitlatch. Terryl and Copic Marker are teaming up to bring you an online art education experience unlike any other! Be on the lookout for a preview of the program, and join us at Anime Expo in Los Angeles for demonstrations July 2nd -4th at the Copic booth (#501). Terryl will also be on hand Friday, July 1st in our booth at Anime.Music.Manga in Anaheim.

Also be sure to check out The Jedi Path, a new collector’s item for Jedi enthusiasts featuring Terryl’s illustrations.

What was it like to work for Lucasfilms and the Star Wars Universe?

Working for the Lucasfilms companies, in my case, Industrial Light and Magic, LucasArts, LucasBooks, LucasLearning, as well as Lucasfilms itself, was a blast.  We worked long hours, but the time went quickly, it was quite a roller coaster, with lots of deadlines, and lots of fun.

Regarding Star Wars itself, those films are under the jurisdiction of Lucasfilms.  For Star Wars—The Phantom Menace, I was the principal creature designer, and invented most of the creatures, as well as reinterpreting preexisting characters, in that film.  I  designed Jar Jar Binx, Sebulba, the majority of the pod racers, and most of the animals that swam, crawled, flew, and galloped in that film.  I also worked on Star Wars—The Special Edition, and Star Wars, Episode 2.

Working for George Lucas was a great experience.  He met with us at least once a week, but you never knew when he might pop in.  He was a very gentle, genuinely nice person, and had quite a pithy, funny sense of humor.  I really liked him, and he treated us very well.

This might sound like a silly question, but were you a Star Wars fan before working on the films?

I saw the first films in the theater when I was a teenager, a long time ago in a galaxy far, far away, and was blown away by the amazing special effects that had never been seen before, and which changed the face of movie making forever.  I had fallen in love with the wonderful stop action animation and creatures of  Ray Harryhausen when I was a child, and this was the next natural step.  I really liked the way George Lucas took what he saw in real life, and just put a little spin on it.  For example, we can believe in banthas because we know about elephants and woolly mammoths. Or, likewise, Luke Skywalker’s landspeeder because we’ve seen Ford Galaxies and Chevy Impalas.  So, yes, I have a great fondness and appreciation for the Star Wars films.

When you were asked to contribute to The Jedi Path, how did you feel?

I was very happy to be asked, first of all.  I’d been working on many other projects since the last films, and it was great to be doing some Star Wars work again.

What is The Jedi Path, and what is it about?

The Jedi Path is basically a long lost training manual for young Jedi apprentices, called Padowans.  Due to the long wars of Federation vs the Empire, all the other Jedi documents have either been lost or destroyed.  This is the only surviving Jedi literature.  It contains all sorts of secret information on becoming a Jedi, such as fighting techniques, survival methods, histories of the Jedi Order, handwritten notes from various Jedi knights such as, Luke Skywalker, Anakin Skywalker, Obi-Wan Kenobi, and yes, even Yoda.  There are other goodies, like tokens and badges tucked in its pages.  The book itself is protected in a special hi-tech mechanical vault.  The Jedi Path is a must-have for any true Star Wars fan.

Certainly documenting in great detail the Jedi Knight creed is not a small undertaking. Did you meet the author, and what was it like to collaborate with him?

Daniel Wallace, the author of The Jedi Path, was delightful to work with.  It’s not easy to trace and tie together all the lore and information concerning this subject that has accumulated over the last thirty-four years since the original Star Wars film was released in the theaters.  Rosanna Brockley, the hard working designer of the book, was equally as wonderful to work with.

What were your favorite Creatures of the Force that you designed?  Were there already pre-existing designs of them that you reinterpreted?

I illustrated 6 different creatures, which already had various interpretations by various artists over the years.  I tried to do a definitive interpretation for each one, and looked to nature for inspiration, such as salamanders,  caterpillars, and sabertooth cats.  My favorite three are the Jakobeast, Nighthunter, and Beck-tori.  While these creatures are all different species, and not biologically related to one another, what they do have in common is their ability to use the Force, for survival and defense.

We’re told you used Copic markers to illustrate these creatures. Is that correct?

Yes. I chose to do these in traditional media, to give a more authentic look given the history and archaeological nature of The Jedi Path.  However, the creatures had to look highly realistic and contemporary at the same time.  Copic markers, which are Industry standards, with their fresh appeal, color variety, and easy blendibility, were the perfect choice for the project.

Is there anything else are you currently doing in the Star Wars Universe?

Yes, definitely, and I will be able to tell you about it shortly—but what I can say is that this time it has a great deal to do with the dark side of the Force!

TEWSR1 displayed work in the gallery and did live graffiti work at the event. In addition to those at the recent Black Book event, TEWSR1 has worked with notable artists and comanies such as Cypress Hill, Snoop Dogg, Steve-O from Jack-Ass, Audio Hustlerz Records, One World, FIND Art Magazine and 5 Star Clothing.

You can go here to find out more about the Black Book event and to read attendee comments and feedback. Or view more of TEWSR1′s work at waistedtalent.com. We’ve pictured work done by TEWSR1 with Copic Markers in this interview, but his website will give you a glimpse at work he does in other mediums. 

You can also see his work this summer at the L.A. Art Machine International Urban Art Festivalfrom July 14-17th.

Tell us about your background and how art played a role in your life growing up.

I grew up in Orange County, California in a city without much of a strong graffiti element or influential art movement to speak of at the time. I began copying and drawing from comic books and old cartoons when i was younger. I eventually developed a cache of techniques and elements that gave me a good basis to start creating my own ideas incorporating my style characteristics. In grade school I created a small revenue selling sketches of Mega-Man and Tiny Toons characters, and it was then I realized there was a chance to make a living in art if I could learn how to do it well enough. I’ve been actively trying to acquire a better grasp ever since.

How has your work changed over time?

I think my work has become more refined and technically complex compared to my earlier work. I create with the intention to provoke thought. My art used to have a more cartoonish look and lately I have been using my knowledge of realism to twist my creations into a more tangible entity. It also adds to my style of graffiti work since the realism aspect in that genre is only applied by few.

What makes you want to draw?

My drive stems from my desire to learn and to constantly acquire new techniques to apply to my art, to achieve the caliber of work I’ve been seeking ever since I began this worm-hole journey through the world of art. I feel that if I never reach that point, then I will still be consistently learning new things in hopes of arriving there. That is what ultimately drives me.

Copic is sponsoring a Black Book event you’ll be showing work at. For those of us who aren’t graffiti artists, what is a Black Book, and why does a graff artist have one?

A black book is a way to develop one’s style and way of working out the look before actually bringing it out into the open public for all to see and ultimately judge.

Some use their black books to complete and fully render pieces of art and fill them to the margin with everything they’ve learned of hope to learn. I use mine mostly for brainstorming and concepts. Although I have been known to rock a mean full-page or two-pager, nowadays it seems more archival and useful for me to spend the time completing the works on canvas or illustration board. I will never lose the desire to throw something  in a black book thought. It will continue to be a staple in the arsenal of the seasoned graffiti artist and all other alike.

Who would enjoy a Black Book event like the one you participated in on May 21st?

I think this [kind of] event is for anyone with an open mind and desire to see some truly amazing work by some of the most prolific and talented artist’s around. It’s a great chance for anyone that has never had the opportunity to see first hand how graffiti mural is done from start to finish. And a great way to see how the difference in sketchbook techniques used by many artists with the same goal; to achieve a great looking piece of art! People can enjoy all this with the ambient sounds of some of the “freshest” D.Js out.

What’s the farthest you have traveled to be in a black book event?

Unfortunately, I haven’t been much farther than within California since the good black book events are few and far between. However, I am willing to travel far and wide to spread my art, wherever it’s needed, and not needed for that matter.

Joanne Sharpe has a layout from pages 66 through 70 entitled Making Magic with Markers that breaks down the Copic color coding system, explains blending trios and provides an exclusive black and white illustration for trying out the techniques yourself.

Joanne will be at the Create Retreat in Costa Mesa, CA May18-22 teaching the following classes:
“Color Blast Buffet” Art Journals
Color Me Creative Copics
Oh My Word! Artful Lettering Inspirational Journals.

Not signed up for Create Retreat?

There is still availability in Copic’s mixed media workshop called Ink & Art, this June in Indianapolis. The experimenting will go from 9am to 5:30pm and attendees are encouraged to bring their own collage materials to incorporate, such as favorite photos, magazine or newspaper clippings and copies of inspiring art. Some techniques to be covered include:

Copic & Bleach Bath
Found Object Resist
Layered Backgrounds
Hot Photos
Colorizing Transfers
Faux Batik
French Ribbon Dying
Tinting Acrylic