Process – Page 2 – PJ Holden's Blog

Doing lines…

One of the dullest and yet something you do multiple times per page job is drawing panel borders.

There’s no right or wrong on any of this, it’s all entirely subjective, and I’d argue all that’s important is consistency (in terms of style rather than say line width)

So panel¹ borders (the black lines that go around panels) are a very established part of comics grammar. Even if people don’t really know what they are or contain.

When I started drawing comics, aged 18 – long before I had any chance of a freelance career, I started drawing with Rotring Rapidograph pens. A mechanical pen the draws lines in a fixed width with the caveat you have to hold them in a very particular way (pretty much vertically straight). I used .25 for drawing and 1.4 for lovely thick panel borders. It stood me very well. For a bit.

I inked panel borders like that, using the rapidograph for decades. Until I figured out I could actually get away with drawing the panel borders on computer. Then my process changed, sometime around a decade or more ago… I’d loosely pencil the panel borders, scan the pencils in, draw panel borders in Clip Studio and then convert the pencils to blue line, print the resulting page out – blue line pencils with black panel borders and then just ink! no more panel rules!

Such a relief.

The rapidograph is perfect except… it’s so fiddly… so bloody fiddly. And needs constant care and attention (see the featured image – every time I use it now, I have to wash it out, because the ink dries in it’s channels causing it to block)

After deciding, last year, that I wanted to make a break from the computer a bit (at this point I was pencilling and inking on the computer, and had put away all the tools of the trade) I didn’t want to start up with the rapidograph. I’d added some new tools to my arsenal, namely posca markers – black and white. The black at various thicknesses were great for doing panel borders! nice solid blacks. But a little inconsistent and a bit of a pain to use against a ruler (never a problem with the rapidograph) in exchange they were extremely low maintenance- I mean, open them and they worked – and importantly they were water proof, a thing the rapidograh ink never was, which meant using acrylic white paint to correct mistakes would often result in a smear of grey when the rapidograph ink mixed with the white acrylic. Such a pain.

BUT … the black poscas would often leave ink on the ruler when used and that would inevitably transfer to my arm which would then find its way back to the page, leaving more smears.

Just… ugh. Look my love of digital comes down to just how clean it all is. Ink and me, we never managed to get through a day without clashing with each other and the resulting mess being left on the page somewhere.

The posca ink transfer problem proved insourmantable, so I moved back to the rapidograph, at this point it had spent a good 10 years unused and the ink had gone … very … very bad. It smelt, weirdly, of vanilla. So a thorough cleaning later and the slightly sickly vanilla smell still present at least it worked.

But again the white+black = grey. Gah,

So I moved again to using a rule and a brush – not a bad idea, the brush is almost the perfect tool for inking lines, it’s useable instantly, easy to clean, doesn’t transfer if you’re careful, and you can use standard black ink, so waterproof! Ah, but now the problem is… holding a ruler in the right way to get the line perfect is a pain.

You hold the ruler at about 30-45deg from the page and using the raised edge you draw the brush along it creating a simple smooth line. A bit of practice and this line proves to be both lively, and interesting even when you’re trying to give a perfectly straight dull line.

But it’s still bloody fiddly, and my hand and eye aren’t the steady laser like stillness of my youth, so I think I’m going to have to clean the gunk out of the old inkjet and go back to drawing panel borders on the computer. Nothing else. Just borders. And honestly, I think that might be the right decision.

Clip Studio calls them frames, I call them panels, and I’ve heard them referred to as Cells. There may be more names, but for simplicity I’ll refer to them as Panels. ↩︎

Anatomy in Perspective, thinking outside the box.

One of my many (many) drawing difficulties is the dead body lying on floor syndrome. This pushes one thing I think I’m good at (the human body) against another thing I really struggle with (perspective). Perspective isn’t hard, per se, and often my most successful perspective drawings are where I try not to get too rigid with it, but inevitably (especially as I’ve gone digital) I tend to fall in to the everything-is-a-box and can be drawn in perspective. And since the human body is extra hard to draw, that means extra boxes and extra hard perspective.

And that’s sort of useful, but it really steals a lot of fluidity away from the human form. Plus, and I dunno if this is a feature of my brain but it tends to lead to a lot of floating boxes. These notional boxes taking up head, torso, arms and legs, still sort of follow the placement of wherever I put them – rather than, as with the human body – sagging int other space that’s there.

When stuck on this problem I start looking at Geoff Darrow, who’s Hard Boiled is a bible for bodies lying on the ground.

I mean, look at that. Every body is painful reminder of the fact we’re only human flesh bags.

Anyway, staring at this, it seemed to me, the boxes where my problem, and if I could think of another metaphor (it’s not the right word, for what I’m trying to do – a drawing anology?) that might help it might be worth considering and staring and staring and it occurred to me if I thought of the torso as a sack of spuds, that would give me much of the flexibility of a real human body –

I feel the weight of a sack like this, much more than I do a box, and it has a bend to it that the body does that none of my box drawings ever do.

And if I extend the metaphor so instead of a box human we end with a person made of bags of spuds (or other less-norn-irish stuff) we can have a better way to think about the body in perspective, something that can keep the all of the relative lengths of the body parts the same while also making me think about weight and giving me the flexibility to move the body.

Anyway, this has JUST occured to me, so maybe it’s a bad idea, but sometimes I think you need to question your assumptions so you can rethink stuff, especially stuff you’re stuck on.

Tools of the trade: Rotring Isograph

The Rotring Isograph is a pretty old school architectural drawing pen. It comes in a bunch of sizes, and it was my tool of choice before any professional work came knocking. I’ve had to dig one of the old pens out, actually, because I’ve been digital so long I’ve had to remove some mothballs on this one.

This is the 1.4mm sized pen. Up until going fully digital in the last decade, this was my tool of choice for drawing panel borders and why, even now, my default panel border width is 1.4mm. I think I’ve owned this pen since the late 80s.

Photo of the Rotring Isograph 1.4 pen, the lid and “shroud” for the pen nib have been removed as has the ink refill and the main body.

I’ve exploded it out here so you can see its workings. It’s a refillable pen, and you’re better just using rotring ink (which to the best of my memory isn’t waterfast)

I’ve always loved the chunky line it makes and though it requires a little too much cleaning and care (it’s been sat upright for at least a year and unused and needed a bit of a cleaning, though I didn’t do as thorough a job as I could) but once cleaned it’s pretty rock solid.

If you want the 1.4 line you’ve got to hold it at 90° from the paper to guarantee a steady ink flow. On the other hand if you start playing around you can get a nice chunky ink line with some body to it.

Chunky Hulk Sketch drawn with a Chunky pen

Anyway, I’m digging it out because I want to go and use some old school tools. Many of the tools I use have deteriorated (and look, let’s be honest – so have I) in particular by lovely black erasers that where brilliant for erasing and never leaving smears, somehow the chemicals in them, it turns out, are just not that stable and they’ve sort of melted in to many plastic surfaces they’ve been sat near. Very odd.

Anyway, will let you know how it goes.

Double time

Hello chums, I’m going to recap a thing I’ve touched on here before, the idea of the two things plan.

Prior to covid I started this new process where I would chop my day up into doing two things. I mean not small things, not like take-a-bin-out, but things I consider cognitively hard; two pages of inks, two pages of pencils, two chunks of layouts (a chunk being roughly 12 pages, so two chunks is layouts for an entire issue).

Of course, it’s a tiny amount of things, but if you can do it consistently, literally every day of the week, every week of the year, you’ll end up – if the two things are pencils/inks of a page – drawing 365 pages of comics. Obviously, it’ll not always work out like that, so I try and aim for 25 pages per month. You’ll need down days of course, and sometimes one of the things will be pay the tax man (because man, that is a cognitive load just filling that form in and hitting send on the tax)

The reason for doing this is because I can be over productive sometimes, and find, even as I draw three, four, five pages (of pencils or inks) in a day that I end the day frustrated that I haven’t done enough. That somehow, drawing twice as much as an average artist just isn’t going to cut it. So I have to set myself a hard limit.

Once I hit those two things, fair enough if I’ve time I can start doing other stuff. And, again, prior to covid, I managed to find the time to write, blog and draw for fun (my sketch books can be pretty shallow things because I save my drawing for work)

Anyway, along comes covid and all plans hit the fans and suddenly I’m trying to do as much work as is humanly possible. An entirely unsustainable thing. Part of the problem with being fast is you miss a day or two (because the world gets in your way) and suddenly you go from being on time to 8 pages behind.

Now, this week, owing to the fact that my wife and youngest son are heading off to Disneyland Paris, I was looking forward to getting caught up on a serious amount of work. I’d be staying at home. BUT disaster struck and my wife came down with vertigo, necessitating a change of plans on my part – so now I’m also heading to Paris to ride the many many rides my son assures me he wants to go on.

So I needed to rethink my work and so I decided, counter intuitively it was no use just ploughing through it and trying to hurry it up and see where I landed, I needed to break it down day by day. Initially I figured I could chop it up in to two pages a day, and somewhere in that time draw the extra left over two pages (so some days would be a three pager) and that started well, until I discovered that I’d accidentally calculated the time left as one day longer because I forgot there wasn’t a 31st of June. Recalibrated, it turned out ok, because I’d started and already done three pages a day for most of it. But doing so really made me sit down and start thinking; two is the way to go.

The past year I’ve really sort of relaxed the reigns when it comes to knowing what work I’m doing, nothing has had deadlines which has meant I’ve just been doing work as and when I can. Didn’t work today? doesn’t matter. No deadlines.

But, of course, it does matter, because no one is paying me for my days off.

So, work scheduled up to the 30th the on hols for a a week, where, of course, I will be working. Nothing too hard though. Probably two pages of very very rough pencils per day…

Chimpsky’s Law

NOTE: This was sitting in my draft blog folder, since uhm 2020ish, so you’re getting it now because it’s got art in it.

Well, there’s been enough time, so here’s a few bits of art, for fun!

It’s been great fun drawing Chimpsky and seeing how much people have enjoyed a nice fun Dredd story.

Before I start every script, I sit and read it, then I fire up clip studio, create a new document with a couple of extra pages at the end (so a 6 page story gets about 8 pages of documents) and in those extra I do character design or layouts. So here’s all the layouts along with a shrunk version of the art so you can see where I diverged. Generally I stick pretty close to the layouts, but sometimes I totally change it – sometimes there’s something else needed, ep 1 page 6 of Chimpsky was like that, I had Dredd facing the reader but it felt like not enough. If I saw Dredd’s face, I wanted to see more of Dredd. So I flipped him. Seeing his back, meant we know it’s Dredd (who else would it be?) but he sits on that page like a ominous for-shadowing of what’s to come.

Thinking inside the box

There are panels I lean on a lot, panel shapes, compositions, etc, and honestly, I’ll do them without thinking because they work for me, but I’m trying to rethink some of these choices and make more interesting (or at least, more thoughtful choices).

Take this panel:

Absoloutly fine. Dredd gets to a door, door gets open. Not terribly interesting, but largely doesn’t need to be, this isn’t high drama. But the next panel, is an almost identical composition and so I needed to rethink it. Initially I went for this:

This is a bit better, I think. Pulled out more it’s an establishing shot, much easier to see we’re outside at a doorway. But still, that old habit of mine of keeping everything on an eye/just below eye level. What if we wanna move up higher (giving us a little more distance, a little more of the location?)

SO I think this is better from an angle, though the danger with panels at these angles is they feel voyeuristic, like you’re standing beside someone watching the proceedings, I mean if I added a window frame it would feel even creepier…

Anyway, that’s not what we’re after (I mean it COULD be, and if it was, it’d be great… but it’s not…)

Since a panel isn’t alone in it’s composition, it’s judged by what went before and what comes after, I check the previous panel and find – OF COURSE – I’d gone for an almost identical angle on the previous page (last panel) and this (the first panel on this page) feels a bit… like the time gap between them is immediate… I want it to feel like more time has elapsed, so a cheaty way of doing that is to flip the horizontal of the panel…

And in context, this flipped panel feels better (you’ll have to take my word) but I feel like I’ve lost a little of the atmosphere of that second attempt, so I’ll take another swipe at it…

I think what I’m losing here is some sky, and at this angle (birds eye view) I’m not gonna get it, so time to go low… really really low…

This has enough in it that I think this could be the one, so a quick refinement later and…

One thing that I’ve started thinking about on this new Dredd strip is… how much does this bit look like a scifi book cover (and how little does this look like something I’ve drawn before?) and this scores it on both counts. We’ve take a functional but dull panel (in my drawing of it, at least) and turned it into its own little sci-fi tale. Pleased with myself now, let the self loathing recommence in 10 … 9 …

Studio Tour (2023)

I’m due a studio tour, right?

We’ve been in this house for around a year and there’s still a fortune worth of work to do. Outside of the studio we started by adding a new fence to the outside drive, so we could have private space in the backgarden which was a godsend over the summer (otherwise you can see our backyard from across the road) but it cost a fair bit. And we changed the stair case (money) and then updated the kitchen (more money) which, combined with buying the place has left me sort of broke. But we have a house on a ground floor with an outside which meant I got to do nine barbecues this summer (and if the bloody weather had been more dependable it would’ve been a lot more) including one just as my son finished secondary and him and his mates got their university acceptances and we had a big barbecue with him and nine mates, and the family and my wife’s cousin and her family and one of our friends and one of my brothers and there was twenty people in total. Was great. Worth it.

Anyway, the studio.

To the right, books shelves, laser printer

Funky Pencil Monkey

Spent a couple of days in a bit of a funk. The world is just … ugh. My mood has been dark (which, all jokes aside, I partially put down to binging Walking Dead which finally got to Neagan, a character I despised so much on first contact, and the grim never ending awfulness of what the characters are going through that it genuinely has effected my mood, so I’ve put it away – no thanks, not watching that) have turned instead to the delights of Gone Fishing.

I’m in a fairly privileged position (in that I’m in a part of the world that is relatively stable, and safe) and so have decided I can’t watch the news at the moment either – things are too grim and it’s impacting how I think about stuff. I don’t remember when things felt this oppressive (plus the comic industry seems to be going through one of its cyclical crunches where there’s more published work than there are readers, and more talented comic book creators than there are jobs for them)

There’s a guy in fixing my gas (big bill I could do well without) and he’s working in my studio room. So I’ve decided to blow the cobwebs off a script idea I had a few years ago (oh god, just after me and Declan did “M” for Dynamite, in 2017) and start polishing it up with a view to drawing it myself as a commando digest sized comic.

Well, strictly speaking I’ll be drawing it A5, and printing either A5 or some reduction of same.

I wrote a fairly detailed treatment of it, and then I rewrote and rewrote it. It was a James Bond pitch originally, and I’ve turned it into “John Regent” a Bond like MI6 Secret Assassin.

Honestly it came about because in our book M, Bond’s boss – a former british soldier – returns to Belfast, and I thought “Oh, man… if James Bond came to Belfast … he could get stuck in an Orange Parade!” because Bond surrounded by a load of guys in Bowler hats marching to a band while he’s being hunted by OddJob is very very funny.

Of course, what often happens between inception and treatment/scripting is the original idea gets lost as you build your plot. So ultimately, that didn’t make it.

Anyway, I have a detailed treatment (no page numbers, just plot happenings) and 64 pages to do it in. So I’ve been trying to work out how long each section should be and man, 64 pages seems like a lot, but every page is only 1 – 2 panels. So you’re really cutting it up a lot. But that’s ok. Because the treatment basically breaks down into Prologue (it’s James Bond! gotta have the bond bit at the start!) Act 1, Act 2, Act 3 and Epilogue I’ve sort of picked arbitary points for these things to break down, that’s when you really start to feel it.

BUT – I’ve adapted tweets into comics, so taking this treatment and going, well, these words have fill 8 pages – beginning on a splash and ending on a splash, giving me roughly 12 panels to tell that part of the story isn’t impossible.

Plus, to be honest, I’m trying not to get bogged down on “what if this is rubbish?” so what. Then it’s rubbish. I don’t think it will be, I think it’ll be not-as-good-as-I-want-it-to-be, which has the same effect as “what if it’s rubbish?” and that effect is to stop you even trying.

So I’m ignoring that instinct and I’m going to write it in to pages, and then draw the damn thing as fast as is humanly possible. And then, if I get that far try and kickstart the beast (I won’t be after big numbers, just enough to get it printed)

But the kickstarter is a long way off, and honestly, I’m doing this because right now, my workload is very very light, and that’s not a terribly comfortable place to be for me. I’d rather have way too much work on.

Sent to kill the super hacker codenamed “White Rabbit” MI6 Assassin JOHN REGENT discovers that she is, in fact, an 11 year old non verbal autistic child. Mission aborted, REGENT and the girl are attacked. Betrayed, REGENT has to go on the run with the girl and her mother to find answers, and to discover just exactly how far down the rabbit hole this goes.
“White Rabbit”

Mutie Mayhem!

I don’t often just do a full piece for myself, but I’m off to cork this weekend and thought I’d do a very limited run of prints of a Judge Dredd piece.

The inspiration came from watching the walking dead and that scene in Skull Island where Tom Hiddleston is swatting weird monsters out of the sky with a machete through a green smoke (it’s an awesome awesome film if you haven’t seen it)

Drawn on paper and coloured in Clip Studio (using a whole load of tricks I’ve picked up from “Colour With Kurt” Kurt Michael Russell has a whole bunch of great videos (as well as a paid-for full tutorial) and i’ve been studying those things furiously. Still a long way to go, but I’m gonna try and colour more of my work.

Clip Studio Quick Access

I’ve refined my use of Clip Studio so much over the years (starting with Manga Studio 3(!) from 2006 – so coming up on twenty years) that sometimes when a new feature hits I don’t even bother with it, as I’m already optimised up the wazoo.

Anyway, a couple of versions ago, Clip Studio introduced a “Quick Access” panel – basically a pop up window that can have your most commonly used tools in one location (rather than scattered around all over the place).

I’ve been studying a bit on colouring in clip studio, and discovered that this quick access panel might answer a few distinct problems I have with workflow, and I’ve played with it and sort of love it. It’s especially useful if you have limited screen real estate. The quick access panel can use tools, menu items, actions or pretty much anything you want. I’ve set mine up for four distinct modes :

Pencilling, Inking, Flatting, Colouring and Lettering.

If you combine that with the ability to duplicate tools and add your own icons, you can have a powerful set of tools for specific modes. Here’s my pencilling set up (I won’t go in to too much detail, though I will answer comments if you have any!)

I’ve also mapped the quick access pop up to a key (Numeric zero on my keyboard or one of the quick buttons on the huion) which makes it really useful when you’ve a small screen with a small set of commonly used tools you want to pop up and down on the screen.

The Pencilling Quick Access

This has tools for Managing a new project, including an action to create page of thumbnails (custom icon on an action)

Tools for pencilling and tools for editing the panel layouts (all things I do at the pencilling stage)

Inking Quick Access

This is probably the simplest and action could be even simplified more. The numbers beside the tools here are part of the names – I coded the number keys along the keyboard with the various common tools I use and then renamed the tools to include the keyboard number so I wouldn’t forget. (Which a handy thing I nearly wish it was a built in feature)

Flatting Tools

Actually, I suspect they’re all simpler than the pencil quick access simply because it’s got most of the starting utilities I use for beginning a new project. One note on colour, I used to use the colour wheel for colour picking, but these days I’ve taken to using the colour slider, which gives you a Hue Saturation and Value sliders for changing the selected colour and takes the guess work out of which colour should I pick next.

Colouring Quick Access

No wait, this is complex! I have thousands of brushes, but lately, I’ve been focused on Kyle’s Builder Brush (Kyle of Photoshop brush fame, released this for free ages ago) and Daub Pigmentio Dual 02 – both add texture/noise to the colours as I paint them. Lots of great texture in the art.

Also a selection of actions to create different kinds of layers, saves me having to tap a new layer and adjust it afterwards.

And finally…

Lettering Quick Access

Text Edit is basically the object edit tool set up to only allow it to edit text. I’ve duplicated and created a bunch of text tools with the fonts I like, if I had time I’d make icons for all of them with the font in it (but I’m lazy)

And that’s it.

Comments are open, so if you wanna ask me about any of this, please do. (If you ask here rather than on the socials, I can answer where which means everyone gets the answer)