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

How do you feel about winning this contest?

Extremely honored, I would like to take this time to thank all of the players involved for stepping up to the plate and cracking one out of the park.

How did you first hear about it?

A print ad gracing the back cover of Ethos Magazine.

How does your piece relate to the theme “One World, Many Stories”?

Humans communicate and share knowledge via story, without stories there would be no “one world.”

What was the creative process used?

Did Harry Houdini reveal his secrets and tricks? Mystery dons a veil.

What were your sources of inspiration?

I source inspiration from experience and intuition.

Who are some of your favorite artists? Any local artists?

Tony Coslett, Bob Dohrmann, Phillip Dillon, Simon Goetz, Peter Goff, Tony Gresham, Josh Heilaman,
Jonathan Hils, Michael Lesage, Takashi Murakami, Billy Reid IV, Angela Renke, Todd Renshaw, Dero Sanford

How long have you been creating art?

9 lifetimes.

What’s your favorite thing about using Copic Multiliner SP pens?

They feel as though they’ve been dipped in butter, plus anything housed in aluminum gains my approval.

What does having your work in such highly visible location mean to you?

Again it’s a great honor to work with the community of Eugene, infinite thanks are in order.

What theme would you like to see for next year’s contest?

Grimm’s law.

Any advice to someone thinking about entering the next competition?

It’s advice, you either take it or you don’t.

Congratulations Cory, and thank you to all of this year’s entrants!

Above: James Book of Ninkasi Brewery and John Darland of Copic Marker unveil Cory Scott’s winning entry. The piece will be displayed in downtown Eugene, Oregon for nine months.

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.

To all the artists who submitted artwork to the One World Many Stories contest sponsored by Copic Marker, Epark Eugene, Ethos Magazine, Ninkasi Brewing Company and the City of Eugene, thanks for participating!

Stay tuned for the unveiling of the winning piece on Wednesday, June 8th.

And keep an eye out for the 2012 theme TBA this winter.

 Copic, in collaboration with the City of Eugene, is bringing you an opportunity to publicly display your art as a part of the 2011 “Summer in the City” series.

Create a design inspired by the theme One World, Many Stories and submit to eugeneartcontest@gmail.com.

In addition to a $300 cash prize and Copic Marker products, the winning piece will be displayed in downtown Eugene on a city parking structure. Second and third place winners will receive awesome Copic products as well.  
 
For dimension requirements, deadlines, and other submission details check out
http://eugeneartcontest.wordpress.com

The contest is open internationally, so tell everyone you can think of. We can’t wait to see what you come up with!

 Once a month, in the Detroit area Motor City Sketch invites local artists and non-artists to a different cafe, pub, bar, saloon, what have you, to build community, create, test out new products, network  and maybe even make some new friends. Everyone is welcome, and at the January meeting (location yet to be determined), you can score some Copic samples and enter a raffle to win a Black Ink Pro. How do we know this? We donated the items and sent them out this week!

Check the Motor City Sketch website for the January location and to see what some of the regulars are working on. Then meet up with them to work on your projects, sketch, chat, get inspired, or just have a drink while observing.

Who: Youth, ages 14-19

What: An opportunity for young people to learn from urban artists, stay off the street and express their ideas on canvas & paper with supplies donated by copanies like Copic

Where: 6709 S. San Pedro St., Los Angeles, CA 90003

When: Every other Saturday from 12-3pm, starting Dec.4, 2010

These Saturday gatherings are open to the public, and Copic has donated a bunch of markers, inks and multiliners that will be available for use. You should check it out if you’ve got someone 19 or under interested in art and you’re in the Southern Los Angeles area. Our markers will be on loan to this program throughout the month of January at least!

Want to find out more about Landmark Inc.? Click here. Or check out some more of their work here.

Drop in to the UofO Bookstore store to view dozens of artists gathered from around the country demonstrating fine art technique in a wide range of media. Visit with vendor sales representatives able to answer your most in-depth art product questions. Enter to win door prizes offered by each vendor represented.

This event is open to the public and there is no entrance fee!

Location Information:
UO Duck Store  (View Map) 895 E. 13th Ave. Eugene, OR 97401, Phone: 541-346-4331