Draw! #7 Fall 2003 (magazine review).
Measuring my luck at an auction, I acquired this 21-year-old 7th edition of Draw! It begins with a lengthy interview with comic book artist Dan Brereton, discussing his career and his approach to painting and coloring his own work. His interview extends into the color section, which makes it easier to understand the context of his references. From my artistic point of view, he relied a lot on earth colors in his early work. Upon examining his more recent creations, I noticed his color choices have broadened. In many respects, working with a limited color palette can be beneficial, as it forces you to be more inventive in your usage.
I’m drawing attention to “The Crusty Critic” piece by Ande Parks, where he describes his experiences purchasing pens and inks. I always thought I was the only one who tended to browse in any art shop for new equipment to experiment with. As Parks discovered, some of his preferred equipment wasn’t always available, but he learned from what was on the market. This was over 20 years ago, and I suspect there are even fewer choices now with the advent of digital graphics.
Initially, I wasn’t quite sure what to make of Mike Manley’s interview with caricaturist cartoonist Zach Trenholm, but I quickly found his discussion on his schedule and the turnaround of illustrations for magazines insightful. Although Trenholm mentioned he never had time to sketch for himself, he does spend time creating quick sketches of people from TV whom he might have to draw professionally, which I would argue is somewhat equivalent. He demonstrates how he creates a caricature. In many respects, it’s similar to conventional drawing as you have to recognize what makes the face recognizable, just using fewer lines to capture the expression.
The demonstration by Alberto Ruiz on creating a digital illustration in Photoshop, although 20 years old, can still be applied to other software. I admired his technique of placing hair shapes in different layers to distinguish between the background and foreground, making it easier to color. When you’re creating layers digitally, there’s a tendency to distinguish between foreground, mid-ground, background, and character placement, but this has made me think about applications within the character.
Speaking of which, Bret Blevins also emphasizes the importance of sketching whenever possible, as it can refine your abilities. I must confess I haven’t sketched as much as I should, although when I play with my graphics tablet, it often involves scribbling as I get accustomed to it, so the impulse is still there. Some artists use it to loosen up before undertaking serious work, essentially translating to getting into the right frame of mind. It’s always peculiar with art that some of the best work comes from a playful approach rather than treating it too seriously.
Finally, Paul Rivoche illustrates the importance of not only determining where your light source is coming from but also understanding the impact of reflected light on shape. Much of this is basic art, but it’s always beneficial to be reminded of these principles because they define not only buildings but also figures and faces.
Artbooks and art magazines never age. If you aren’t learning something new, then you’re receiving a reminder not to become complacent with what you know.
GF Willmetts
January 2024
(pub: TwoMorrows Publishing. 98 page illustrated magazine. Price: varies (US). ISSN: 1932-6882. Direct from them, you can get it digitally for $ 4.99 (US))
check out websites: www.TwoMorrows.com, www.draw-magazine.blogspot.com and www.penciltopencil.com and https://twomorrows.com/index.php?main_page=product_info&cPath=98_59&products_id=431
