Together Gene and I go page by page of his story to get his thoughts and process. Enjoy!
Watch on YouTube:
https://youtu.be/W2pMocAycOA
Watch on YouTube:
https://youtu.be/W2pMocAycOA
To start on the 2018 sketchbook and to make sure my portfollio was stocked with original art for San Diego Comic Con, I had the idea of doing Mouse Guard pieces based on specific characters & stories from the guest contributors in Legends of the Guard. For those who don't know, Legends is a spinoff anthology series where guest artists write and illustrate tall tales, fables, and folklore set in the Mouse Guard world. The 3 volumes of Legends are now available in a nice boxed set.
In Volume 1, Alex adapted a Russian folktale about a warrior/king who is told a prophecy that his mount will be the death of him. For the Legends version, Oleg gives up the weasel he rides due to this prediction (seemly wise as a weasel is a natural predator) only to be struck down years after the weasel is dead and buried visiting its grave.

The first step was to decide on a subject. On this scan of my pencils of the mouse character, you can also see my notes for possible images: a mouse/bird delivery service, a mouse cartographer, and a mouse blessing or knighting a bat. But I ended up going with the idea of a Mouse Glazier. I drew this mouse while also researching how medieval glaziers soldiered lead or cut glass. On a lightbox I drew the background on another sheet.
I assembled these two drawings in Photoshop along with a stock image of a rose window design and a tile floor. The drawings are tinted to help me keep track of everything. Two things of note: 1) The assembly of a stained glass window is not done upright like this, but I thought it was more visually interesting and took some mouse-scale artistic license. 2) As this stage came together, I was mentally writing a story for this image (which is printed on the slipcase in the same way the Legends covers are all one paragraph legends).
Using my digital composite layout as a guide (I printed it out and taped it to the back of a sheet of Strathmore 300 series bristol and placed it on my lightbox) I was able to ink the piece. I use Copic Multiliner SP pens (the 0.7, 0.5, & 0.3 nibs). There wasn't much texture in this piece (stippling, crosshatching, etc) so most of the clarity of the image came down to line wights and strong contour lines.
I posted this image on Twitter as I worked on this piece. Unfortunately, I wasn't able to reveal what it was that I was working on, but here you can see the mouse fully inked, while I haven't started on the background and the layout image shows through on the lightbox.
After the inks are finished, I scanned them in and started coloring. This image is the finished 'flats' the part of the coloring process where you establish what areas are what colors with nothing but flat color. For color choices, I kept the basic tones I had in my rough for the checkerboard floor, and then re-used those colors and the star-fresco on the arches to supply the palette for the glazier's clothes.
The last step was to render the piece. Not only is this the part where I add all the texture and highlights and shadows, but also where I add lighting effects and subtle glows around the window, hot coals, and soldering iron.
Tomorrow the third volume of Legends of the Guard comes out! I love getting to do the Legends of the Guard series because I get to work with so many amazingly talented folks who lend their artistic voices to the myth and lore of Mouse Guard. Today's blogpost is about the Hardcover and all the awesome stuff that will be collected inside.
To the right you can see my hand-drawn pagination guide editor Cameron Chittock and I used to assemble the volume. As you can see all the contributor stories are included (see below), but so are all the covers (including variants by Eric Muller, Humberto Ramos, and Ramon Perez), a new map, a 2nd floor cutaway of the June Alley Inn, and an epilogue by Lauren Pettapiece (see further below)