Image © Marisa Lewis

EDITOR’S LETTER WHAT’S INSIDE

Thank you for picking up the second issue of 04 | Cover artist: Jakub Rebelka
GRAPHITE magazine! The weird and wonderful designs of a pro illustrator

We were very proud of our debut issue, and 08 | Lock and load
learned much in the making of it. Now we’re Design and rendering techniques with Jakub Rebelka
happy to present a new issue that we hope
meets – or even exceeds – the standards 16 | Equipped and ready to draw
of our first. An interview with Tin Salamunic

We want each issue of GRAPHITE to feature 26 | Face value

unique, fresh, standalone content while Portraiture in graphite with Thomas Cian
keeping the smart, clean structure that will
be familiar to you if you’ve read issue 01. This 38 | A day in L.A.
issue covers a whole new range of techniques, Sketching Los Angeles with Susan Yung
subjects, and styles, in keeping with our love
of exciting drawings and 50 | The Gallery
interesting concepts. A selection of inspiring drawings

If you enjoy GRAPHITE, please spread the 60 | Isolation

word to your fellow artists and art lovers! A narrative illustration project with Rob Turpin
We have you to thank for making these
first issues a success, and look forward to 70 | Meeting Molly M.
bringing you more inspiration from around An interview with Molly Mendoza
the drawing world.
80 | Creating creatures
Thank you. Sketching and concept development with Brynn Metheney

Marisa Lewis 90 | Odin, the Allfather

Editor Sketching and illustrating with Yrgane Ramon
 cover artist:
Jakub Rebelka
The weird and wonderful designs of a pro illustrator

Jakub Rebelka is an illustrator, comics creator, and concept

artist based in Gdańsk, Poland. He graduated from the
Academy of Fine Arts in Warsaw, where he studied in the
Faculty of Painting. His artwork has notably appeared as
animated cinematics in acclaimed videogames The Witcher
2: Assassins of Kings and Shadow Warrior. He has created his
own comics and art books, Doktor Bryan, Ester Klemens, and
ELEMENT CHAOSU, is the illustrator for the fantasy graphic
novel City of Dogs, and has published short comics in many
Polish magazines.

All images © SHZREBELKA

 “I love that feeling
when I begin to draw
something without a
plan or preliminary
concept, just following
an outline”
Jakub Rebelka
lock and load
Design and rendering techniques with Jakub Rebelka
10 | Lock and load

In this article, we’ll learn how to sketch and render a steampunk-inspired

weapon design, using an imaginative collaging approach to generate ideas
and experiment with shapes.

The design concept inspired details. I want to create something

This article will explain how I usually create with a lot of decorative elements: rivets, wires,
my designs, from the beginning to the bolts, and so on. It will be a weapon that
final piece. I hope you will find some of the wouldn’t exist in real life, but something with
information useful, and will be able to learn a concentration of elements that would fit a
something about constructing and rendering steampunk world.
forms. To create this design for a sci-fi weapon,
I draw rough sketches and elements that I Tools and techniques
would like to use in my target design, then I like to use different grades of pencil, both Above
compose an image from them, like a puzzle. soft and hard, but I usually go from a 4B to Sketching circular shapes
a 6B pencil to create different looks. This is that might become
I want the design to combine the look of a just my personal preference, because I like part of the design
weapon and a sculpture, and to look like it’s that these tools create a lot of random dust
from a different century or non-existent age. and graphite dirt, which can be very useful Right
To achieve this, I’ll combine raw, industrial, for creating shadows and tonal values. I try Moving on to square or
rusty elements with baroque and steampunk- to begin with the outline rather than going angular design elements
 Design and rendering techniques with Jakub Rebelka | 11

straight to shading, remembering that I can Remember that creating contrast with tools everything up, and afterwards I can add
make different effects by changing the angle and techniques is always interesting, and details and fragments from the previous stage
of the tool. builds tension for the eye. As can be seen to build up the design.
on the opposite page in A2, A5, B3, and C3, a
For highlights, I use a variety of different soft pencil is used to make a broad, general When creating square elements like these,
erasers: putty erasers for soft gradients, shadow. In A1, C1, and C2, I draw cleaner lines use a ruler to give them a solid, accurate
and hard erasers for sharp highlights and as another way to define shape. In A3, A4, B2, look. When it comes to rendering them, I
reflections. As I sketch, I try to plan ahead and B1, I combine the soft, flat shadows with recommend starting with outlines and then
where the brightest highlights will be, so I can precise line drawing. slowly shading from the brightest to darkest
leave blank white space. parts. I plan to use A1, A2, A3, B2, and C1 (from
In A5, C3, C4, and C5, I use the softest pencil the images on this page) for the barrel of the
Circular shapes to make the darkest, deepest shadows – this gun. Elements of A4, A5, B5, and C5 could be
I draw random circles and circular motifs, technique can be used for less important, less used for the core of the gun.
imagining ways to use them in my design. visible parts of the design.
These circular shapes (dials, screws, and In B1, C1, C2, and C3, I try to use different
bolts) will become parts of my final weapon. Square shapes textures to suggest the different materials of
By building up these smaller parts, I can put Now I move on to the design elements that which the gun is made. For added interest, I
together an original piece. consist mainly of square or rectangular include some industrial lettering or numbers
objects and straight lines, as highlighted on in A3, and some lines that are perpendicular
I use these early stages to find ways of shading, this page. This part of the process will form to the main lines’ direction, similar to A2, B3,
crosshatching, and rendering the image. the base of the design. These shapes will set and C1.
12 | Lock and load

Irregular shapes I also start to design some specific with composition and shape – sometimes
This is the most interesting part of the process components, like the hammer and trigger in the craziest idea may work with your design!
for me, as these are the irregular shapes A3 and C5. The next step will be to combine all Compose your shape out of the elements you
that give personality to the design. To make these elements together. find the most appealing, and when you’re sure
great-looking decorative shapes of your own, of the design, it’s time to start rendering it.
try to mix shapes and elements from your Elements and shapes
imagination – don’t just repeat the ones I’ve I finally draw some of the last pieces that
made here! Sketch from your own personal will form the base of the design, such as the Above
inspirations. This is the part where the creator handle. Now I can scan and compile all my Experimenting with organic
can really use their imagination. previous elements into one image to create and irregular forms
the shape of the gun. I usually use Adobe
In A1, A3, B3, and C1, I use a baroque style, but Photoshop to combine all the drawings, as this Top right
for contrast I go for more industrial elements allows me to edit and scale elements easily. Elements that will create
in A2, A5, C2, and C3. I use wavy lines to define I duplicate some of the parts I drew before, the base for the design
the shapes in B1, B4, and C1. Compare A1 and and merge them together with layer blending
A2 above – using curvy lines creates a more modes such as Multiply. At this stage of the Bottom right
organic look, while straight lines look more work, the most important thing is the general Compositing the
industrial. As before, I use a combination of shape; the details are still very sketchy, as sketches together in
sharp lines and soft shadows. they should be. Don’t be afraid to experiment Adobe Photoshop
 Design and rendering techniques with Jakub Rebelka | 13

“Don't be afraid to experiment with composition and shape”

14 | Lock and load

Refining the drawing made using the same scanning and collage most of the time, inspiration will come during
Once I’ve scaled and composed the elements techniques. Try to fill in your simple outline the process of creating artwork. You have to be
together in Adobe Photoshop, I create a simple with the ideas and elements you’ve created disciplined, remember the rules of the craft,
overall shape without detailing, which I print so far. Creating your own designs begins with keep to deadlines, and draw what the client
out in light blue. This becomes a blueprint I simple shapes, circles, and lines, then merging demands, which is not always easy. In these
can further sketch on. I used to draw on a light those parts and drawing over them. cases, the “memories” from your art journeys,
table in the past, but using a printer, scanner, done just for the pleasure of doing them, will
and digital software is much faster and allows Sometimes you just have to let it go, and not become a huge help. They’re pure gold.
you to adjust and transform your drawings try too hard to find inspiration. Inspiration
more easily. I usually repeat this process a few is one of those things that will find you
times to add new elements and make the lines eventually, and you’ll be surprised. It’s Top and above
look like I want them to. like exploring the unknown – an exciting Redrawing and shading
journey without moving from your place. The the design based on
Final drawing discoveries you make on those “journeys” can the digital collage
Even though it’s a lot easier to make design lead to interesting artistic solutions.
changes digitally, there’s something magical Right
about pencil sketches and drawings that But if you draw for a living and you have to The final design and a
I look for in my work. On the right you can draw something despite not feeling inspired, second, larger variation
see the final design, and a bigger variant the only solution is honestly to do your job; © SHZREBELKA
Design and rendering techniques with Jakub Rebelka | 15
A sketch from the
temple area in
Osaka, Japan
 “Equipped and
ready to draw”
An interview with Tin Salamunic
18 | “Equipped and ready to draw”

Tin Salamunic is an experienced artist and designer who captures his

subjects – be they human figures or urban environments – using a dynamic
and versatile approach.

Q∙ Thanks for talking to GRAPHITE, Tin! First creative team and have been working and movies inspire me the most. I’m always
of all, could you tell us about yourself and together from our home studio ever since. connected to Spotify while working (my
your background? current playlist consists of Royksopp, Coeur
Q∙ What inspired you to take up art as a De Pirate, Regina Spektor, The Do, and
A∙ My first official assignment was the cover career, and what inspires you today? DragonForce) and I spend most of my free
and interior spots for The Washington Post time gaming to stay motivated.
concert edition during my senior year in A∙ I’ve always enjoyed drawing, and I never
college. This was my first experience as a saw a reason to quit. Late 80s and early I’ve learned a lot about UX and UI (user
student with a big client, and I immediately 90s cartoons had a big impact on my love experience and interface) design from
fell in love with this line of work. for art. I learned to draw by watching He- working in the gaming industry. The
Man, Transformers, and Teenage Mutant interactive nature of videogames presents
As I started gaining new clients, I became Ninja Turtles. For me, art is more than just a unique challenges for designers because
more and more involved with each project, profession and hobby – if I’m not creating, I games offer a very tangible relationship
and soon my work expanded to include feel apprehensive. between the creator and the end user.
advertising, web and print design, and Radial menus in games like Assassin’s Creed
creative direction. During my earlier years, I’m also extremely introverted, and or Mass Effect are practically imperceptible
I also served as an art educator at Virginia freelancing allows me to lead a more balanced while gaming, but they’re one of the most
Commonwealth University, where I taught lifestyle. I’ve worked a lot of nine-to-five frequently used gameplay elements. As Jared
senior studio, typography, concept art, and jobs, and for me personally, the traditional Spool always said, “Good design, when it’s
figure drawing classes. workplace environment has never felt right. done well, becomes invisible. It’s only when
it’s done poorly that we notice it.”
After meeting my wife, who is also a designer I believe a lot of people gravitate towards this
and developer, we became a multi-service field for similar reasons. Music, videogames,

All images © Tin Salamunic

 A n i n t e r v i ew w i t h Ti n S a l a m u n i c | 1 9

Far left
Self-portrait sketch

Near left
Sketchbook drawing of
my studio workspace

Right
Viking character concept
20 | “Equipped and ready to draw”

Q∙ What tools and media do you generally Q∙ What do you love to draw the most? Any client feedback, making adjustments, and
favor, and why? preferred themes or subjects? moving on to the final. The big difference
lies in my sketch stage. I submit fleshed-out
A∙ I have a traditional background, but I A∙ Architecture excites me the most. Drawing drawings, so the client knows exactly what
transitioned to working digitally early on in buildings and environments serves as an they’re getting. I draw thumbnails only for
my career when assignments became regular. invaluable exercise in perspective and myself. It’s a personal preference, but this
For my line of work, the benefits of drawing composition. I see buildings as elaborately method has led to a lot of new assignments
digitally are paramount. It saves time, money, designed page layouts. You have the roof as a result of positive word-of-mouth between
and most people can’t tell whether most of my as your header, the windows as your body art directors.
sketches are traditional or digital. I still try to copy, and so on. In a way, this brings us back
draw traditionally whenever I can because to your inspiration question. Inspiration
I enjoy the palpability of ink on paper, and can come from the most unexpected places,
I don’t think I’ll ever abandon traditional and I pick up a lot of conceptual cues from
drawing, but I attribute most of my success to environmental sketching. Above
the digital medium’s versatility. Sketch of a vintage bike
Q∙ Tell us more about your general process.
I ink in Adobe Photoshop CS6 and Manga How do you get from a rough idea to a Top right
Studio 5. When I'm inking in Photoshop, I finished image? Sketchbook piece of a
often use the Lazy Nezumi Pro plug-in (www. Japanese neighborhood
lazynezumi.com) to smooth out brushstrokes A∙ I wish I could say I have a cool and
and eliminate jitter. I create custom brushes unique process, but most of my finished Bottom right
when needed, but I also use Kyle Webster’s commercial work follows a very typical Sketchbook piece of a
superb brush sets (www.kylebrush.com). pattern of brainstorming roughs, getting delivery bike in Japan
A n i n t e r v i ew w i t h Ti n S a l a m u n i c | 2 1
22 | “Equipped and ready to draw”

Q∙ You’ve worked with many clients in many A∙ Freelancing isn’t for everyone. Some people “consistency” in a traditional workplace was
different fields, but what is your favorite type prefer a more traditional work environment, completely debunked.
of project to work on? and there is nothing wrong with that. I can
only speak from personal experience: I’ve Freelancers aren’t immune to these situations,
A∙ In my experience, a project is only as good done both, and for me, freelancing was the but if you handle your business properly and
as the art director. If you’re working with right choice for the type of work I’ve always remain flexible with the services you offer,
someone who’s truly committed to their wanted to do. there’s a greater chance of recuperation since
work, it doesn’t matter what the assignment your income isn’t tied to a singular company.
is. I’ve been fortunate enough to work with all I’ve been freelancing for about eleven years I’ve lost dozens of clients when they went out
of my dream clients, but as it turns out, I’ve now, and I’ve seen the industry transform of business due to economic changes, and
been the happiest when collaborating with many times over. A lot of companies, there have been long periods with little to no
businesses that were never on my radar in traditional workplaces included, have work, but for every loss, there’s always been a
the first place. become more and more amenable to remote new client that eventually filled that gap.
employees. There are more working and
On a personal level, life drawing remains my successful freelancers today than ever A potential crutch for many rising artists may
favorite activity. My goal is to travel the world before. It’s no longer this weird subject that’s be the educational system. There are plenty
and publish annual sketch journals of the difficult to explain to friends and family. The of excellent schools that provide countless
different places I visit. conversation has shifted dramatically. This opportunities for talented students, but there
became particularly true when the economy are just as many universities that recycle old
Q∙ What advice would you give to someone collapsed in 2008. People started losing jobs syllabi that no longer reflect the constant
hoping to pursue a freelance career? left and right. The myth of “security” and changes in the modern workplace.
 A n i n t e r v i ew w i t h Ti n S a l a m u n i c | 2 3

“Freelancing is now more respected and more widely accepted across various fields”

There is this cliché belief among art educators aren’t prepared for the real challenges this
that only about 2% of graduating art students career presents.
end up in their desired careers. This may be
partially true, but who is actually at fault? The good news is that freelancing is now Left
The students or the universities? There are much more respected and more widely A light study/sketch
limits to what individuals and institutions accepted across various industries. I of a Japanese store
can teach, but there are no limits to what you personally believe that the freelance (or the
can seek to learn. independent contractor) model has a place in Above left
every type of workplace, and our generation Sketch of my wife
If you want to become a freelancer, learn is lucky to have access to so many tools that
what it takes to run a business. If you think make this career path more accessible than Above right
school was difficult at any point, then you ever before. Figure drawing study
24 | “Equipped and ready to draw”

“Vary your sketches between quick doodles and longer drawing sessions”

Q∙ What do you do when you’re not busy Q∙ Do you have any tips for artists who would
making art? like to improve their observational drawings?

A∙ I love videogames, and I operate a review site A∙ Always be equipped and ready to draw. And
where I cover games, tech, comics, and anime: by always, I mean regardless of whether you
The Game Scouts (www.thegamescouts.com). plan on drawing or not. Think of your drawing
tools as your wallet or cell phone. Once you
My wife and I started this site for fun in 2012, turn a basic routine into a daily habit, you
but it has grown tremendously since then. I realize that the fear of making mistakes Above
treat the site almost like a second job, but it’s becomes less and less prevalent. Vary your Sketchbook piece
ultimately something I do just for fun when I sketches between quick doodles and longer of a tucked-away
want to step away from art-related projects. drawing sessions. Don’t obsess over mistakes, Japanese alleyway
even if half of your sketchbook is filled with
I’m also a big Netflix addict (who isn’t?) and I them. Learn to compose your sketchbook Right
spend an unhealthy amount of time devouring pages. Even if you’re layering different Sketchbook drawing of busy
movies, cartoons, and documentaries. doodles, layer them in a meaningful way. pedestrians around Tokyo
A n i n t e r v i ew w i t h Ti n S a l a m u n i c | 2 5
Portraiture in graphite with Thomas Cian
2 8 | Fa c e va l u e

In this article, illustrator and fine artist Thomas Cian uses a variety of
graphite to create a striking portrait image.

Drawing tools 8. Graphite powder

The phase that precedes the drawing itself is 9. Viarco Watercolor Graphite
very important. It is at this stage that you lay 10. Small paintbrush
the groundwork for a good job. Not only does 11. Regular vinyl eraser
this step include the choice of materials and 12. Putty eraser
techniques that are going to be used, but also
the choice of the subject. In this case, we will Base sketch
be creating a portrait with the following tools: First of all I sketch the main volumes of the
subject with a pencil. It is important that I
1. Tombow MONO Zero eraser pencil make sure the drawing is well proportioned
2. HB pencil from the beginning, so that I do not have Above
3. H pencil to worry about it when I start working on The tools used for
4. 5B pencil shading and texture. this project
5. Blending stick, for shading
6. 2B 0.35 mm mechanical pencil If you elect to use a photo reference at this Right
7. Large paintbrush stage, I think it’s crucial to be the one who The base pencil sketch
 Po r t r a i t u r e i n g r a p h i t e w i t h T h o m a s C i a n | 2 9

took the picture, as you are the exclusive to strengthen those tastes; you’ll really figure
holder of your own personal tastes. I regularly out what you like and why you like it, leading
refer to images that I find online or in books, you to be more satisfied, image after image.
especially for animals and plants, which are
difficult to study in other ways – but that’s Drawing from real life is also essential; I
just for practice, because creating a drawing suggest everyone takes the time to visit a
from A to Z is a whole different thing. Taking natural science museum to sketch subjects
your own photos is a very important exercise from life.
3 0 | Fa c e va l u e
 Po r t r a i t u r e i n g r a p h i t e w i t h T h o m a s C i a n | 3 1

“Remember that white and light gray are absolutely not the same thing!”

Graphite powder the damp/wet surfaces of the eyes and lips.

I use a tissue to spread some graphite The highlights are the brightest values, so
powder over the drawing’s surface, creating any other light will inevitably be darker.
a gray midtone. Creating a midtone base is Remember that white and light gray are
very helpful because it allows you to set up absolutely not the same thing!
Top left and thumbnail highlights and shadows more easily, quickly,
Using graphite powder and with more direct “feedback” from the rest Water-soluble graphite
to create a midtone of the image. It’s crucial to keep in mind that With a big brush and Viarco’s water-soluble
you can get the drawing dirty at any time, but graphite, I start to make the drawing “dirtier”
Bottom left keeping it clean is harder, and something you in some parts. I really like to use graphite with
Using erasers to pick should worry about from the beginning. water because it’s impossible to control the
out highlights results completely. When using water-soluble
Erasing highlights graphite, keep in mind that the parts you get
Above I use the erasers to remove the midtone base wet will be “fixed,” and even though they will
Creating visual interest with in areas where I want highlights to be. On be partially erasable, you will not be able to
water-soluble graphite a face, the highlights are usually found on get the paper back to pure white.
3 2 | Fa c e va l u e

Developing the shading

To set up the next stage of shading, it’s helpful
to insert a very dark tone to start with: in this
case, the black of the eyelashes, in order to
now have both the brightest and the darkest
tones applied. Once you have both your
brightest highlights and darkest shadows
down, it allows you to easily judge and work
on the other grayscale tones that will be used
in the rest of the drawing.
Po r t r a i t u r e i n g r a p h i t e w i t h T h o m a s C i a n | 3 3

Making a start on the

more detailed shading
3 4 | Fa c e va l u e

Shading process putty eraser allows you to create some

Here you can see how I build up the forms smooth, light areas without producing any
and shading. This is achieved with all my tools kind of marks or rubbings, as would happen
shown previously, from the big brush to the with other erasers.
very fine 2B mechanical pencil. Above top
Hair details The process of building
You can finalize the drawing according to To draw the hair, I use a very sharp pencil up darker shading
your personal taste; I’m not interested in and the 2B mechanical pencil. Hair consists of
hyperrealism, I like it to remain “a drawing,” different shades, and will sometimes seem to Above bottom
even in the most detailed parts. I love leaving “disappear” when backlit because it’s so thin. A kneaded putty eraser is
some pencil- and brushstrokes clearly visible. useful for lightening areas
In other areas, where the strands overlap, it
Putty eraser will appear darker and more visible. Here you Right
It may now be necessary to lighten or clean up can see how different tones and thicknesses Adding lifelike
some areas of the drawing here. The kneaded of hair create variation that looks natural. strands of hair
Po r t r a i t u r e i n g r a p h i t e w i t h T h o m a s C i a n | 3 5
3 6 | Fa c e va l u e

More painterly effects you’re unable to say “Stop!” when you’re you spend on a single drawing will never
I generally add some stains with the brush to concentrating on small details, hoping that be wasted; your taste and techniques will
balance the composition at this point, being the image’s entire look might change. improve anyway. It’s very important to make
careful not to create hard contrasts that might a lot of mistakes.
distract from the main focal point (the face). In the former case, I suggest not looking at
This is done using the water-soluble graphite the drawing for a few days – it’s a huge help
that I used previously, but applied with the for finding that missing “something.” In the Above left
smaller brush. latter case, you’re usually just wasting your Loose, organic brushstrokes
time, and it may be better to consider starting help to balance the image
Final touches another drawing, even if you’ve spent a lot of
I think that adding color at this point would time on the current one. Above right
give something more to the drawing, so I Adding some small
add a few little colored details with acrylic After one drawing comes another, and we finishing touches
paint. Deciding whether a drawing is finished have to be the most productive we can. We
can be very difficult. Sometimes you’ll feel must be able to stop when we are happy Right
that you’re missing something that would with our results, and be able to give up, learn The final image
make the image more valuable. Sometimes from our mistakes, and try again. The time © Thomas Cian
Po r t r a i t u r e i n g r a p h i t e w i t h T h o m a s C i a n | 3 7
A Day in L.A.
Sketching Los Angeles with Susan Yung
40 | A day in L.A.

In this article, we travel around sunny L.A. County with Susan Yung, and
learn new techniques to add fun and focus to urban sketches.

My name is Susan Yung and I am a freelance to sketch. A good tip is to not overshoot
concept artist currently based in sunny Los yourself; sketching everything can seem
Angeles. I have worked with a number of overwhelming, so it’s always better to pick
design studios in the area and am currently something that you like and focus on it.
working as a freelance background artist This will help your sketch to read better as
for Cartoon Network. In this article, I an image, and it saves the trouble of getting
hope to bring you a sense of the variety of worked up on a specific section and forgetting
environments that are hidden in Los Angeles. about the rest.
I will cover my process and how I break
down and simplify complicated subjects into I decide to sketch the house shown in the
more readable forms. My tools for this whole photograph opposite. I start by quickly
project are a sketch pad and two Tombow drawing a base outline of what I see overall;
Dual Brush Pens in N15 (Black) and N79 I also simplify the plants into basic shapes,
(Warm Gray). which I will cover in more depth later on.
I work my way through the scene, slowly
Hyperion Avenue, Silver Lake adding detail to the sketch. I am selective
Hyperion Avenue is located in an up-and- of what I add; wanting to show that this is
coming area of Los Angeles called Silver Lake. a house, but not inundating it with small
It is one of my favorite roads to drive through, details. I add some details to the plants to
and also consists of a lot of houses that are give them texture, but I don’t draw every leaf
located on the hillsides. What I love about on each plant – that would distract from my
this area are the number of shapes that flow focus on getting the overall sketch done.
within each other; they can create a really
interesting composition for a sketch. The final sketch is clear to look at, and not
overwhelming. Adding dark shadows with
It looks complicated! My first instinct is the same black pen is the final touch that
to crop down to a specific section I want gives it depth and separates certain elements.
S k e t c h i n g L o s A n g e l e s w i t h S u s a n Yu n g | 4 1

“Sketching everything
can seem overwhelming,
so it’s always better to
pick something that you
like and focus on it”

Above
A view of the houses
on Hyperion Avenue

Left
Starting the base: simple
first, before adding
details. The plants
become stylized shapes
42 | A day in L.A.

Below
The final result, with
dark shadows added
© Susan Yung
 S k e t c h i n g L o s A n g e l e s w i t h S u s a n Yu n g | 4 3

ARTIST’S TIPS
Drawing tools
I always get asked about what pen brand I use. Pens are different for
everyone, so be open to experimenting with new tools and you might
find a pen that you like better than someone else does. If that works
for you, use it!

Do you see what I see?

Always draw what you see! But if you see something that someone
else doesn’t, or want to add some elements that make the composition
work better, go for it! You don’t have to be exact. Sometimes the
environment doesn’t make for a good composition in certain parts,
and you can modify that in your sketch. This is your sketch – it doesn’t
have to be one-hundred-percent accurate.
44 | A day in L.A.

The Alex Theatre, Glendale focused. As I build up the sketch into what I
The Alex Theatre is part of a group of want to capture, I only add details that are Above left
structures in L.A. County that are recognized necessary to show what the scene is. The Alex Theatre in Glendale
by the Los Angeles Conservancy group. The
building was designed in the 1940s and has As an artist, you can pick and choose what Above top right
been preserved to this day despite everything you’d like to show in your sketch. For example, Starting with a simple
around it becoming more modern. I group the smaller text into shapes and outline that will form the
blotches, as I imagine it will be distracting to base of the sketch
Its shapes and color are what attracted me to write everything down.
sketch here; in the photo above, you can see Above bottom right
the overwhelming amount of detail present In this sketch, I want to go a little further Building out the sketch and
in this structure. Again, I aim to simplify by adding some grays to create a sense of simplifying distracting areas like
what is there and pick out certain parts of it lighting (using my other Tombow pen). I can the building’s small lettering
that could give texture to my sketch. still stick with just the black marker to create
shading, but using grays preserves the details Right
I start out with an outline to form a base for I have. I can also go over the gray marks again Adding lighting and shading
the sketch. I keep it simple, adding some lines to create darker grays if I want to add more with a Warm Gray Tombow pen
to give a little more detail but not staying too depth to the shading. © Susan Yung
S k e t c h i n g L o s A n g e l e s w i t h S u s a n Yu n g | 4 5
46 | A day in L.A.

Above
A beautiful gem of a place,
near Venice Beach

Far left
Starting out with an
outline, making note of the
different shapes that are
significant in the scene

Near left
Adding improvised
elements to the sketch

Right
Don’t be afraid to
have fun with it!
© Susan Yung
 S k e t c h i n g L o s A n g e l e s w i t h S u s a n Yu n g | 4 7

Venice, Los Angeles my sketches to be simple, easy to accomplish, When I start adding my own touch to my
This is my favorite place to go sketch and paint. and also fun to draw. sketches, I add what I think will make the
It took me a while to notice that it existed sketch speak for itself. In this drawing, I
near where I lived! There is a large variety of I pick this house specifically because of the repeat some of the curved shapes of the plants
architecture, plants, beaches, and canals to plant shapes available to play around with. to make the overall sketch feel whimsical and
choose from. I love this area because I can see When I start drawing an outline, I position give flow to its design.
that each house has its own character. I could the significant shapes quickly to get an idea of
never get tired of the amount of shapes I can what the sketch will look like. I can definitely When I add the final touches and shading to
design within my sketches. get lost in detailing every object here, so I the sketch, I decide to have a little bit of fun
try to see them simply as large shapes. My with it and add some more specific details,
Picking out what I want to sketch can be sketches don’t always have to reflect just showing more of what is next to the house.
overwhelming and it does take a little time. I what’s in front of me – I'm not afraid to play When drawing, don’t be afraid to have fun
tend to be picky but I always know that I want with my designs! and improvise!
48 | A day in L.A.

Top left
Neighborhoods of Los Angeles

Bottom left
Integrating sketch studies
into new designs

Right
The final image © Susan Yung

Ince Boulevard, Culver City

The last place I have chosen is my neighborhood in Los Angeles:
Ince Boulevard. I have noticed that a lot of people in L.A. like to grow
beautiful plants with all sorts of shapes and sizes, especially succulents.
These elements play a large part in my sketches because they’re such a
big representation of L.A..

One thing I love to do during my sketch adventures is to explore plant

shapes. It’s fun to practice sketching them as a group and stylizing
them overall. Plants have varying shapes and sizes that can give
character to sketches in general.

As an artist, urban sketching really helps me broaden my design

vocabulary and explore new architecture. In these sketches, you can
see how my shape language for plants can vary and bring something
new to urban sketches. I always keep my sketches with me, as a lot of
them have sparked inspiration for new work. For example, my plant
studies have helped me create small pieces (shown above) that I can
experiment with at home.
S k e t c h i n g L o s A n g e l e s w i t h S u s a n Yu n g | 4 9
 Featured artists:
Natalis Lorenz
Nicolas Boone
Anabel Colazo
Jens Maria Weber
Maria Luiza Tejerina Gauterio
Luke Kopycinski
Oriane Dirler
 Medusa
© Natalis Lorenz
Digital ink
52 | The Gallery

Persephone the Damned © Nic Boone • Moleskine paper, HB graphite • Visit graphitemag.com to read an interview with Nic
 The Gallery | 53

Future © Anabel Colazo • Pencil and Adobe Photoshop

54 | The Gallery

Taurus © Jens Maria Weber • Blue paper and colored pencils • Visit graphitemag.com to read an interview with Jens
The Gallery | 55
56 | The Gallery

Confrontation © Luiza Tejerina • Pen, 35 × 44 cm

 The Gallery | 57

Skull sketch © Luke Kopycinski • 0.5 and 0.7 mm mechanical graphite pencils
58 | The Gallery

Maïko
© Oriane Dirler
Pilot BP-S Matic ballpoint
 The Gallery | 59

THE GALLERY CONTRIBUTORS

Natalis Lorenz works freelance in editorial illustration, poster design, and advertising. He
also makes comics, zines, and drawings, creates short-run silk-screen prints in his own small
printing studio, and designs and prints clothing for multimono.de.

natalislorenz.de

Nicolas Boone paints ghosts. Music, caffeine, and art keep him alive, and he finds a lot of
inspiration in the world around him. He’s mostly self-taught, but attended two colleges he
wishes he’d dropped out of earlier, and is now an illustrator and concept artist.

nicboone.com

Anabel Colazo is an illustrator, comic artist, and fine arts graduate, interested in drawing,
reading, and self-publishing zines. In Future, Anabel aimed to branch out and try more sci-fi
subject matter than usual.

behance.net/holasoyanabel

Jens Maria Weber is a graphic designer, illustrator, and child of the seventies, straight out of
the West German industrial districts. He studied literature and graphic design, and ever since
then has been in the business of images and imagination.

jensmariaweber.de

Maria Luiza Tejerina Gauterio is a student and self-taught illustrator based in Córdoba,
Argentina, who works with traditional media – mostly ink and graphite, and occasionally
watercolors and acrylic paint.

artstation.com/artist/luizatg

Luke Kopycinski is an Australian concept artist working in games and film, exhibiting
traditional artwork at various galleries in the USA, Europe, and the UK. In his traditional
work, Luke mainly uses graphite and oils.

koppa.carbonmade.com

Oriane Dirler is a Paris-based illustrator with significant experience in fine art painting. Her
interest for new techniques pushed her to experiment with blends of digital and traditional
media, leading her to working as a full-time freelance illustrator and character design artist.

orianedirler.myportfolio.com
 IS O L ATIO N
A narrative illustration project with Rob Turpin | Story by Adam J. Smith

“The prisoner looked towards the space station, his gaze following

the snaking curve of the life support system connected to the

cell bubble he was suspended inside. Its solid imposition – a

colorless landscape of metal – was waning, revealing the slow

rise of the Earth’s North Pole. Shadows faded to whites and blues

as the Arctic Ocean crested. Inside his bubble – one clean and

clear, impermeable surface – he floated and ate lunch, watching

the scorched land of the Northern Hemisphere rotate into

view, wondering how long before isolation, and the constant,

infinite void outside his ‘window,’ would drive him insane.”

62 | Isolation

Follow illustrator and designer Rob Turpin as he captures a lonely space

scene with pencil and ink.

Getting started Sometimes vagueness in a brief can be a

I’m an illustrator and designer from nightmare, but really you just have to see
Yorkshire, now living and working in the leafy what you can get out of it. What does it
suburbs of South West London. I mainly draw suggest in terms of your own style? What are
spaceships, robots, castles, and imaginary you going to love drawing that’s suggested in
places, and my favorite color is orange. In this that brief? I start scribbling while I read the
article I’ll take you through my illustration brief. Often it’s these initial thoughts that can
process, from brief to final inked artwork. end up being the best idea.
I’ll be using pencils and pigment liner pens Left
mostly, and while initial doodles and thoughts Thumbnails Scribbling some ideas
are always in a sketchbook, the final artwork Even with this first page of thumbnail sketches while reading the brief
will be on a smooth, heavy cartridge paper. I’ll there are already some concrete ideas about
also use tracing paper, a ruler, a scalpel, white where I want the illustration to go: a sphere Right
emulsion, and a toothbrush. suspended in space, cables, and machinery. I Sketchbook thumbnails. I
also cut out a little frame so that I can look at have a stack of Moleskine
The brief was nicely ambiguous in terms different compositions, turning the image in sketchbooks full of doodles,
of the exact look and design of the prison. the frame to make it more dynamic. thumbnails and ideas
A n a r r a t i v e i l l u s t r a t i o n p r o j e c t w i t h R o b Tu r p i n | 6 3
64 | Isolation
A n a r r a t i v e i l l u s t r a t i o n p r o j e c t w i t h R o b Tu r p i n | 6 5

Composition
After a couple of pages of sketches I decide on
a layout, shown far left. This one has the main
subject at an angle, the twisted cables and
hoses stretching from one corner to another,
which gives it more movement and interest
than some of the other thumbnails. I also
have an idea to extend the cables out of the
frame to bring them to life. I add some tone
to the thumbnail to work out how the black
areas are going to work against all the detail.

Rough sketch
Now, on a larger piece of paper, I make a
rough sketch based on my thumbnail, at
about half of my intended final size. This is
where I tweak elements, adjust sizes, and
generally make sure I’m happy with the
layout of the illustration. At this point I also
give some thought to the balance of the whole
image, roughing in some “rule of thirds”
guides along the page and shifting the image
to fit. For this stage, as this is still a sketch, it
doesn’t matter what I draw on – in this case,
just a standard cartridge paper pad is perfect.

Far left
Nailing the composition

Near left and above

Making a slightly
larger rough sketch
66 | Isolation

Transferring
Once that half-size sketch is complete and I’m happy
with it, I scan it, enlarge it using Adobe Photoshop,
then flip it from left to right, and print it out at full
size so that I can trace it. It’s key here that the tracing
paper does not move halfway through the process, so
I often add a couple of pieces of masking tape at the
top and bottom to keep it in place. This is a stage of
the process I’d like to eliminate, as it’s time-consuming
and laborious; you can achieve the same results using
a light box or light table. When the trace is complete,
I turn it over and lay it on top of the heavy cartridge
paper I choose for the final artwork. Using a 5H pencil,
I then transfer the traced image, rubbing over every
line, making sure I don’t miss anything. At the end
of this process I have a mostly complete drawing, on
good quality paper, which just needs some details
adding before inking.

The underdrawing
Sometimes I’ll go straight to inking an illustration
without preparing much detail in pencil, trusting
myself to know where I’m going with a picture. In this
case, as the image is quite complicated, with its twisted
and overlapping cables, I draw in almost every single
line that will be inked. I use a Palomino Blackwing
pencil to do this, quite lightly so that it’s easy to erase
towards the end.

I’ve been using Palomino Blackwings for most of this

year, after I’d dismissed them as overpriced designer
nonsense previously. Once I got to use them, though, it
was clear that they are just pencils of fantastic quality.
The graphite is super smooth and fine grained, so you
never get that scratchiness you have with some pencils,
and the wood is very high quality so it sharpens easily
and doesn’t splinter. They are expensive, but well
worth it in my opinion.

Starting to ink
I always start inking an illustration by outlining all the
elements, usually in just one weight of Copic Multiliner
SP. This is to make sure I get everything right before
moving on. In this case it’s really important to get all
the cables and hoses drawn in correctly. It would be
easy to rush this and make a mistake. This is also the
stage at which the illustration always looks terrible,
with no difference in line weight and no contrast. The
key is to just push on through and not get disheartened.
A n a r r a t i v e i l l u s t r a t i o n p r o j e c t w i t h R o b Tu r p i n | 6 7

Contrast at last
Once the outlines are complete I usually add all the
solid black areas, either with ink and a brush, or in
this case with a Kuretake Fude No. 8 brush pen – a
lovely pen with deep black ink. Once those sections of
flat black ink are in, I start to look at which areas need
more line weight. I switch to using a Rotring Tikky 0.7
mm pen for the foreground elements that I want to
stand out. This pen has great ink flow so you get really
good, solid, flowing lines. My drawings are quite “flat,”
by which I mean I don’t use perspective or 3D views in
most of my work, so adding varied line weights really
helps to give depth and add interest to my illustrations.

ARTIST’S TIP
Getting the most out of the brief
At first reading, not all briefs or commissions are
going to get your creative juices flowing, but it’s almost
always possible to get something valuable from them.
If the subject matter is not something you’d normally
draw, you can look at it as a challenge, or think of
how you can draw something outside your comfort
zone but in your own recognizable style. Sometimes
you might just think of a technique you’ve been dying
to practice and this could be the perfect moment. It’s
really important to think about how you’re going to
approach the job; make sure there’s something that
you are going to enjoy. We’re drawing or illustrating
for a living because it’s something we love to do. Try to
remember that for every job you take on.

Top left
Scaling up and
transferring the image

Bottom left
Adding details to the
transferred image

Top right
The first phase of the
inking process

Bottom right
Contrast at last!
68 | Isolation

It’s time to greeble! out with a scalpel. This leaves an accurate it has depth and weight to it. I think extending
This is my favorite part of the process: the mask for the illustration that’s really easy to the cables beyond the frame is a key element,
illustration is drawn, all the elements are place on the image. Using a very, very light as it helps the subject stand out. Despite this
there, and now it’s time to add the details that dusting of spray mount to keep it in place, I not being a subject I’d considered for an
bring it to life. For this illustration, “greebling” can then add the stars without damaging the illustration before, by having a good read of
(adding fine detail to an object to make it rest of the drawing. I use white emulsion for the brief, sketching and thumbnailing until I
more interesting) means making the cables its high opacity and because it’s easy to clean, found something, I’ve created an illustration
look like they are made of different sections and an old toothbrush to splatter the stars. It’s that’s recognizably mine.
and materials, adding little scuff marks and important to have a test first to make sure you
wear and tear, bits of grime, and panel lines. have the right consistency of paint. If it’s too
All these little things help to add scale and thin, it won’t be opaque or defined; too thick Above left
make the illustration look more lived-in. and you’ll get far too big blobs of paint. Leave Adding life and texture
the paint for a few minutes before gently with “greebling”
The background removing the mask.
Once all the work is done with the pen, I’m Above right
left with an illustration that’s almost finished. The final image Masking out the image
It has detail and contrast, looks layered, and is I scan the image for a little clean-up in Adobe before splattering
interesting to look at… the only thing missing Photoshop and tweaking of the Levels setting,
is the background! Using tracing paper, I and it’s done. I’m really pleased with the final Right
carefully trace all the solid black areas (which result – I think it’s a striking image with lots The final image
will become starry space) and then cut them to look at. Despite my very flat drawing style, © Rob Turpin
A n a r r a t i v e i l l u s t r a t i o n p r o j e c t w i t h R o b Tu r p i n | 6 9
MEETING
MOLLY M
An interview with Molly Mendoza
72 | Meeting Molly M.

Molly Mendoza is an artist based in Portland, Oregon, whose clients include

Adobe and The New York Times. Her layered, lively illustrations burst at the
seams with shape, color, and texture.

Q∙ Thanks for talking to GRAPHITE, Molly! A∙ I have been drawing for a very long time.
First off: who are you, where are you from, It all started with drawing Sailor Moon as a
and what do you do? kid and that eventually evolved, through a
lot of hard work, into the maker I am today.
A∙ Hi! My name is Molly Mendoza and I am I originally only drew to have some fun and
an illustrator currently living in Portland, pass the time. What I really wanted to study
Oregon. I grew up in the suburbs of Chicago was astronomy and be like Jodie Foster in
and lived for a long time in Romeoville, Illinois. Contact. The love for astronomy never went
I also lived in Surprise, Arizona, throughout away but my love for drawing kept growing
high school before moving to Portland. and eventually became my passion.

I originally moved to Portland to study

illustration at the Pacific Northwest College
of Art and wound up liking it so much that
I stuck around when I was finished with my Above
studies. I mostly spend my time on editorial Untitled sketchbook
illustration, comics, and some fine art. study for a larger piece

Q∙ Tell us a bit about your artistic background. Right

Did you always aspire to be an artist? Various pen sketches

All images © Molly Mendoza

 An inter view with Molly Mendoza | 73

“I thrive off people and my interactions with them,

so I treasure whatever time they give me dearly”
74 | Meeting Molly M.

Q∙ Who or what are your biggest inspirations places that surround me. I’d say that, whether Making sure that my viewers can’t tell what
and influences? it seems like it or not, a great deal of my work is digital and what is traditional is a fun
is somewhat autobiographical. I thrive off challenge for me.
A∙ I owe a lot to the anime and cartoons that people and my interactions with them, so I
I watched as a kid. People sometimes cringe treasure whatever time they give me dearly. Q∙ How do you warm up and get in the mood
when they hear that but I don’t care. I loved for drawing?
The Iron Giant, Sailor Moon, Speed Racer, and Q∙ What tools and materials do you prefer,
Miyazaki films. Those sorts of films made me and why? A∙ Usually I have to do “me” for a little while
want to draw the figure. Drawing the figure before I’m ready to get to work. This means
later developed into basing my work on a A∙ I really enjoy working with sumi ink and some coffee, breakfast, maybe a videogame,
combination of observation and the media brush. I buy cheap brushes and let them get watch a cartoon, walk around outside, or
that I consume. I am also inspired by the color real beat up. When they are frayed just right I hang out with friends. Hopefully by 2 p.m. I
palettes of William Eggleston’s photography, can create some interesting dry brushstrokes sit down and start working. Picking the right
which was introduced to me when I took a with the sumi ink. I have a nicer brush for music or listening to a podcast that I like
photography class in community college, any fine linework. When it comes to color I helps. All in all, I think I am more getting
taught by the artist Peter Bugg. I am also driven usually use Adobe Photoshop but sometimes I myself into a mood to draw rather than
by personal experiences with the people and work with gouache or water-soluble crayons. warming up my drawing hand.
 An inter view with Molly Mendoza | 75

Left
My Line Our Vibe - winner of
the Society of Illustrators
Student Competition, 2015
(Rockstar Games Award)

Right
Ghost - ink drawing with
digital color for the
Saturdéjàvu anthology,
edited by Siobhan Gallagher
76 | Meeting Molly M.

Q∙ Your work is so full of layers, textures, Q∙ What themes, stories, or subjects do you A∙ It does differ, but not in a bad way. With a
colors, and details! Could you explain some find yourself returning to the most? lot of illustration work, the artist is working
of the process behind creating your images? with someone else: a publisher, a designer, an
A∙ To this day I still make illustrations art director. No matter what, we are talking
A∙ I do a lot of editorial work and that usually about being a preteen or kid. This sounds about some level of collaboration or outside
goes in specific phases so that my art director so awkward and lame because those are the input. Editorial illustration has quite a bit of
has plenty of input. This ensures that we make tragic, pimply years of our lives. However, that input but it only strengthens the image.
the right illustration for whatever article I get a lot of emotional energy in my work When I sit down to work on an editorial
we are working on. I start out with some when recounting those times of confusion, project I want it to come out well, but I also
thumbnail sketches to get a composition anger, nostalgia, and innocence. I think, know it will not come out how I expected.
down. After we decide on a composition, I for me and for a lot of people, that time was This can be challenging to accept at first
jump into tight linework using sumi ink and transitional from being a kid to becoming an but I think it pushes me to grow and think
brush. Then I scan my linework in along with adult. It is a hard time but for once you are differently about the way I work. I may also
any wash or dry brush textures that I might both your old self and your new self at the find myself stumped by difficult articles
edit into the image using Adobe Photoshop. same time. In an art school phrase, it is sort and the outside input helps me clarify my
If I could work in primary colors forever, I of liminal. This content doesn’t usually find thinking.
would, but that isn’t usually what the client itself in my editorial work but it is always a
wants! So I color the piece one way and then part of my comic and personal work. Above
create variations so that my client can pick Saturn, an excerpt from my
the one that works best for them. I also enjoy drawing jungles, space, hot dogs, thesis project, Voyage
and rude or funny things my friends say.
When it’s “me time,” the illustration process Right
is much more fluid. I jump from phase to Q∙ How does editorial illustration differ from Image for the 1001 Knights anthology, curated
phase quickly, but the initial phase, ideation, other types of illustration? What challenges by Annie Stoll and Kevin Jay Stanton -
and sketching still takes the longest. does it present to you as an artist? onethousandandoneknights.com
An inter view with Molly Mendoza | 77
78 | Meeting Molly M.
 An inter view with Molly Mendoza | 79

artist and get you a job. That isn’t what it does.

“Failure is the best Art school gives you lots of opportunities to

thing in the world for

be experimental, to meet other creatives, and
to fail. Failure is the best thing in the world

a growing artist” for a growing artist. Fall on your face over and
over, then listen to your peers and professors
on how you can get back up. Top left
Q∙ What was your experience as a student Sign illustration for
like? Do you have any advice for anyone If you go to art school and refuse to try and the Yes We’re Open
currently at art school? push yourself, then you just wasted money Minded campaign -
and time, including everyone else’s time. It is yeswereopenminded.org
A∙ I really enjoyed my time at PNCA. The up to you to get everything you can out of the
faculty and staff meant the world to me and assets and privileges that are there because Bottom left
I made some friends for life while I was there. no one owes you anything. Hustle! Illustration for Adobe CC. Art
There are always going to be issues with the directed by Gail Blumberg
system as well as frustrations to be had in Q∙ Art or hot dogs?
the day-to-day – I certainly had a fair share of Above
those. My only piece of advice is: don’t think A∙ I’ll pick art because that is the right thing to Illustration for Adobe CC. Art
going to art school will make you the best do but you know I really want to pick hot dogs. directed by Gail Blumberg
 CREATING
CREATURES
Sketching and concept development with Brynn Metheney
82 | Creating creatures

Using a variety of pencils and papers, Brynn Metheney covers how to invent
a creature concept using animal research, anatomy studies, and rapid sketch
techniques. This article will cover how to build up forms and combine
characteristics to make a new and interesting life form.

Materials They are almost impossible to erase, so I

Any sort of pencil that you enjoy using will become less inclined to worry about getting
work for this project. I like to use Palomino things “right” in the drawing, and instead
Blackwing pencils in series 602 and Pearl. focus on keeping it interesting.
They are excellent pencils – I find that their
leads are soft enough to keep my hand Acid-free sketch paper is cheap and easy to
moving quickly, but are also bold enough find. I like using it for the start of my concepts;
to not smudge as much. I also use Col-Erase it’s not really paper I care about, so I find
pencils, as their waxy texture helps me build that I’m less worried when I start to sketch
up a drawing slowly. I use them a lot when and more willing to take risks. Vellum paper
drawing animal studies. I also like the colors is great for building up drawings and for
they come in, which are great for construction revising design ideas traditionally. You can Above
because I can use my Blackwings over them as also use tracing paper for this. The tools and materials
I bring my drawing to final. The color simply used for this project
becomes background noise. China markers I will also be using a kneaded eraser, a
(also called grease pencils) are great for bold Staedtler Mars plastic eraser, and blue Right
mark-making. They are large, waxy pencils painter’s tape (any tape will work, just pick Studies of animals that
that I use for quick sketching techniques. one that’s easy to remove from your paper). will inspire the design
 Sketching and concept development with Br ynn Metheney | 83

“When inventing creatures, it is imperative that you draw animals as much as you can”

Fundamentals of creature design I find that drawing from life is best and can subscriptions and channels and, of course,
When inventing creatures, it is imperative really help you understand the volume and there are always photographs. I like to
that you draw animals as much as you can. motion of an animal. However, going to the pick a few different animals to work from,
Understanding their forms and anatomies zoo or museum isn’t always a possibility, and particularly from different species. This
will help you build and conjure up your own that’s okay! way I keep the characteristics I’m choosing
wildlife. I will be using drawings that I’ve from dissimilar enough to keep the design
compiled from various photographs and zoo There are a great number of nature interesting. For this project, I’ll choose two: a
trips for this demo. documentaries available on most streaming rhinoceros and an iguana.
84 | Creating creatures

Warm up! very unique to this species. These small details As I’m drawing, I’m also loosely thinking
Probably the most crucial step in my concept are crucial to notice. It’s important to do our about what this creature will be. Is it a
process is the warm-up phase. This step best to observe how the animals actually carnivore? How large is it? Does it live in
should come even before you do animal look and not what we think they look like. I groups or alone? Is it male or female or maybe
studies and drawings. Drawing takes a lot of tend to use a variety of references to create a something else? This is why it’s important to
muscle memory and so it’s important that study, but starting out, it’s good to draw from not only draw lots of animals, but to study
I warm up my drawing muscles so that they references directly, whether they are from life, their behaviors and physiology. These details
are ready to react. I tend to scribble a lot; I photos, or video. will help to construct the creature from the
like to generate lots of little creature bodies ground up. I hold my china marker up high,
on a sheet of sketch paper. I move quickly and Exploring shapes so I use it less precisely.
usually use something permanent like pen or Once I’ve warmed up, I’ll begin to look back
china marker. This way I don’t stop to think, at my animal studies and think about what As a side note: it can be useful to look back
I just go for it. sort of animal I’d like to create. I’m really into at those warm-up scribbles. There might be
the rhino’s head and body shapes; I also like ideas hidden in there somewhere!
Sketch, observe, and study the iguana’s spines, eyes, and mouth. Looking
I’ve found that the more I draw animals, the back at these traits, I begin to sketch out
easier time I have exploring ideas and shapes. shapes on my sketch paper using my china Above
Animals can always surprise you with their marker. This way, I can keep things loose Warming up is an essential
proportions. Notice how low the rhinoceros’s and explore silhouettes. I like to explore a part of the process
eyes are, and look at the interesting shape of three-quarter composition, since it’s easier to
the head. The green iguana has some really explore silhouettes this way and I don’t need Right
interesting shapes and textures happening to worry about perspective or proportion Developing the creature's
on its body and head too. The scales alone are right away. form and pose
Sketching and concept development with Br ynn Metheney | 85
86 | Creating creatures

Layering with vellum an explanation for being there. Perhaps they

“I am careful about
Now that I’ve sketched out a silhouette I are used for intimidation. Maybe it’s a trait
like, I can begin to flesh out some of the that’s exclusive to males. That said, there are
pressure as I go; I characteristics of the creature. I’ll use vellum plenty of mysterious characteristics in our

want to make sure

to help edit the design as I start to find more own natural world too, so we can incorporate
details and shapes in my concept; I’ll use things that won’t be explained. I tend to

the features I really china marker to begin, then switch to Col- practice a bit of restraint in my design.

like are bold and the

Erase pencil and begin to figure out what I
want to keep and subtract in my drawings. As I like to switch between colors as I layer the

underlying construction I go, I’m looking to keep the design balanced. vellum. This way I can keep things organized.
I also keep my pencils somewhat blunt at this
lines are light” Remember: form follows function. The spines stage – I’m only finding big shapes at this point
along the jawline of my creature should have so I don’t want to use a fine point just yet. I’m
 Sketching and concept development with Br ynn Metheney | 87

keeping things gestural. I keep layering and that using the Staedtler Mars plastic eraser to the drawing as I go. The great thing about
keep drawing. helps to lighten the pencil quickly and easily. concept art is that I can keep exploring ideas
as I build up this final drawing.
Finding features I am careful about pressure as I go; I want to
Now that I’ve got my body plan mapped out make sure the features I really like are bold
in light blue Col-Erase pencil, I begin to pull and the underlying construction lines are
out features using the indigo Col-Erase pencil. light. The painter’s tape comes in handy here. Left
I like these pencils because I can draw very Taping down my pages helps keep things neat Drawing on a layer of vellum
lightly with them and slowly build up the and can guard against crumpling if I decide paper over the initial sketch
drawing as I go. Once I’ve got the drawing to erase and wipe away dust. Vellum can be
where I like it, I will further refine it by using a fragile so I take my time and am careful as I Above
darker color to pull out key features. Col-Erase move forward. Using repetitive rendering on Discovering the features
pencils can be tricky to erase, but I’ve found certain forms helps to model and give volume of the creature
88 | Creating creatures
 Sketching and concept development with Br ynn Metheney | 89

Building up the drawing

I like what I’ve achieved with the Col-Erase pencil drawings. At this stage,
I usually scan the drawing just so I have a digital copy. It is a good idea to
document steps like this, in case you need to return back to them.

I will now draw over the Col-Erase pencil using my Blackwing 602 pencil.
I’m not going to use a sheet of vellum; instead I will work directly on the
Col-Erase drawing. This is optional – it is personal preference if you’d like
to use vellum for your final graphite drawing. Blackwings are soft pencils,
so they don’t need much pressure to get them to work. I work light to dark,
rendering out the forms as I move around the drawing. I want to capture
volumes and textures as I go. The great thing about working on vellum is
that the paper texture can aid in the drawing itself. There’s a “tooth” that’s
lent to the drawing from working traditionally.

The final sketch

Even in this stage, we can make edits to the overall design. I can add in
whiskers, scales, battle damage, and wrinkles – all things I may have
observed in our animal studies from the beginning. I like to work from left to
right (since I’m right-handed) to avoid smudging and smearing. As I render,
I imagine a light source above the creature to keep the lighting simple and
easy to understand.

To complete the sketch, I use my kneaded eraser to clean up any fingerprints

or smudges around the figure. If I wanted to take the sketch further with
some color, now would be the time to scan it into Adobe Photoshop (or your
program of choice).

Left: Building up forms and detail with Blackwing pencils

Below: Final image © Brynn Metheney

 Odin,
the Allfather
Sketching and illustrating with Yrgane Ramon
92 | Odin, the Allfather

Join freelance artist Yrgane Ramon as she creates a stylized depiction of

the Norse god Odin, accompanied by his wolves and ravens, using colored
pencils and paint.

Materials (Old Norse for “thought” and “mind”), and his a necromancer, and ferryman of the dead.
As digital art is essential for work, traditional two wolves Geri and Freki. My very first step He discovered runes, and is associated with
art is essential for the heart. I love to explore is to get to know Odin more, so I read several the Valknut symbol of three interlocking
and express ideas in sketchbooks or on pieces texts and find plenty of information on our triangles, which is often linked with death or
of anything that I can put paint on. I love old friend, the internet. funeral rites.
to work with colored pencils, gouache, and
gold. I find it really fun to try different new I’m surprised to see how vague Odin’s Odin gained true wisdom, allowing him to
materials but, at least for pencils, I mostly use story is, with such tiny descriptions of his see everything that is happening and about
Faber-Castell and Maped brands. (I also like to accomplishments. Unlike a modern fantasy to happen, all at the same time – but he
use black ink, but not this time!) writing style such as Tolkien’s, which is very paid a high price for the gift, losing his right
generous in details, Odin’s story is more eye. Odin died being eaten by a giant wolf,
I don’t think there are really “good” or “bad” sparse and mysterious. Fenrir. I am also interested in Yggdrasil, the
materials, only those that you like to use or not. “tree of life” symbol in Norse mythology,
It’s a very personal choice, like food or friends. Here is the information I choose to keep in with its roots between nine worlds.
mind. The two ravens fly around looking for
Research information to tell to Odin. The two loyal, Rough sketches
I’m curious to work on a piece about Norse dangerous wolves wait for food. Odin does This is my favorite part. I really try to put on
mythology, and decide to illustrate the god not eat, only drinks, and gives his food to paper all the different ideas I have in mind.
Odin, his two ravens Huginn and Muninn his wolves. He is a wise and powerful god, Bad ideas overlapping with good ideas – I
 S k e t c h i n g a n d i l l u s t r a t i n g w i t h Yr g a n e R a m o n | 93

put them all on paper. It’s messy, very rough. I just feel regret that I might miss something Far left
I put them all together (here on the floor or better. I want this image to be simple but Testing materials. Colored
on my living room wall), then I let my brain have narrative; I love to make artwork about pencils, gouache, and gold
sleep for a few! That way I can clearly see the emotions felt by the characters, and their paint will be used for this
which ideas are really working. I find this interaction with what is around them. I try to
step very creative and helpful, because I don’t keep in mind and synthesize all that I’ve read Above
like to only work on one idea and that’s all. about Odin’s story and symbols. Creating rough sketches
94 | Odin, the Allfather

Testing most accurate to my vision and feelings about

A test session helps me to define the tools and Odin’s stories, and I hesitate between them.
techniques I will use for my final illustration. I use a light table to make a cleaner sketch, Above
On this page you can see I’ve made some keeping Odin’s expression of worry, and also Testing techniques, shapes,
small illustration tests. These allow me to try trying to keep the shape lines I used on my and ideas using colored
tricks and technical ideas that could add to rough. For this stage, I use a thick Canson pencil and gouache
my narrative way of illustrating my subject. paper that’s slightly yellow (I don't want to
use white paper). I work directly with a black Right
Starting the illustration Faber-Castell pencil (not a plain graphite Starting the illustration,
Now I’m ready for working on the final pencil), with a light hand in case I need to based on the rough
design. I select the roughs which looked the erase anything. sketches and test pieces
S k e t c h i n g a n d i l l u s t r a t i n g w i t h Yr g a n e R a m o n | 95
96 | Odin, the Allfather

Refining the design add a kind of metaphor about the mystery

When I’m satisfied with the sketch, I start to surrounding Odin’s story and achievements.
push my drawing. With the same black Faber-
Castell pencil, I start to add more gray shades Finishing the drawing
to create contrast in my image. To the right, you can see how I add the final
lines and details, such as the patterns on his Above
I want an Odin who looks like skin on bones clothes. I want to stay simple and not attract Refining the initial
because of the fact that he doesn’t need the eye to them. The shield behind him, as a drawing with more
to eat, also making him look more like a kind of tapestry, discreetly shows Yggdrasil, contrast and detail
necromancer and a wise man. I put force the tree of life with the nine worlds; I design
into his arms and lean muscles. I put symbols each symbol like a synthesis of each world. I Right
everywhere: he has a kind of skull face, his have also added Draupnir, a magical golden Finishing the drawing
spear is made of the Valknut symbol, and ring, to Odin’s arm, as I found some historical with decorative aspects,
he has rune tattoos. I add fog to the scene to information saying that a “ring” was more like patterns and a
reinforce his worried expression, and also to like a bracelet for men in the past. background element
S k e t c h i n g a n d i l l u s t r a t i n g w i t h Yr g a n e R a m o n | 97
98 | Odin, the Allfather

The golden touch Adding gouache

Gold time! My péché mignon, my little I want to adjust the depth of the fog now,
weakness. I use gold pencil for the shield, which looks too close in value to Odin, his
Odin’s tattoos, and the fog. For the magical animals, and the shield. At first I tried to Above
parts such as the ravens’ eyes, ring, spear, and correct it with varnish and white gesso… Adding touches of gold
wolves’ collars, I use my small Japanese gold However, we sometimes make mistakes! pencil and paint to
pot – it’s dry, but when you touch it with a wet Now I’ve lost the lying-down wolf and Odin’s make the image pop
brush, it turns to liquid. I also make Odin’s cloak. This forces me to take out my gouache
magical “eye” gold at first, but it reflects too paints, and I find it’s a good idea. I have a lot Right
much light, so I remove it and add black of fun turning the fog into colors, pushing An accident with
gouache. I love how gold takes the light and the wolves into simple patterns in a way that gesso turns out to
dances with it. keeps them readable. have good results!
S k e t c h i n g a n d i l l u s t r a t i n g w i t h Yr g a n e R a m o n | 99
100 | Odin, the Allfather

Final touches with paint working in a space that is the size of a pocket
I love to see the development of colors on my handkerchief. It’s the same for the colors Above
plate. It’s also inspiring when creating new on my plate. Astronomy always talks about Adding the final touches
ideas for color harmonies. I always keep old order evolving into chaos, right?
brushes for strange (but cool) effects. Right
I clean up smudged parts of the image with Final illustration © Yrgane Ramon
It can be funny to see how my workspace white gouache, and clean all the dust from yrganeramon.tumblr.com
develops into a mess when I’m working. my dirty left hand – this happens even if I
At first I need a lot of space to start my work with a white paper between my hand Visit graphitemag.com to see

illustration, but by this late stage I’m and the illustration! more images from this project!
102 | Contributors

CONTRIBUTORS

Jakub Rebelka
shzrebelka.tumblr.com

Tin Salamunic
salamunicart.com

Thomas Cian
behance.net/chanbella

Susan Yung
susanyung.com

Rob Turpin
thisnorthernboy.wordpress.com

Molly Mendoza
mollymendoza.com

Brynn Metheney
brynnart.com

Yrgane Ramon
yrganeramon.tumblr.com

THE GRAPHITE TEAM

Marisa Lewis
Editor

Matthew Lewis
Graphic designer

Adam J. Smith
Proofreader and contributor
adamjsmithauthor.blogspot.co.uk

Simon Morse
Managing editor
Contributor | 103

© Yrgane Ramon
 Join thirty fearless artists as they explore and develop concepts for a treasure trove of
fascinating mythical beasts. Journey around the globe and unearth the secrets of fantasy
favorites and more provincial mysteries, including the legendary unicorn, the elusive yeti, the
Slavic leshy, and the Japanese nue, to name just a few! Each creature has its own chapter that
covers an overview of its history, how to detail main elements, such as fur and horns, and the
thought process behind the artist’s design. Let your imagination run wild and discover the
captivating subspecies of each creature, such as the Arctic boggart and humpback kraken.
Mythical Beasts is a spellbinding anthology for fantasy lovers, creature artists, or any intrepid
adventurer looking to investigate the enchanting world of cryptozoology.

Available now at
store.3dtotal.com
 Check out more from
Jakub Rebelka, Rob Turpin and,
Brynn Metheney (all featured in SFTI Sci-Fi)

In each book of the Sketching from the Imagination series, fifty talented traditional and digital artists
have been chosen to share their sketchbooks and discuss the reasons behind their design decisions.
Visually stunning collections packed full of useful tips, these books offer inspiration for everyone.

See the full collection at

store.3dtotal.com