Discordant Fellowship 'Cover' & live reading

I have written and illustrated a new Mouse Guard short story titled 'The Tale of the Discordant Fellowship'. It's an 8 page story, like Baldwin the Brave, The Owlhen Caregiver and, King Knight Fool Villain'

Like those other tales, I drew a 'cover' for the story even though there are no plans to publish it as a single issue, but more on the release plans in a bit...

The story ties in nods to the pre-history of Mouse Guard back when there were no mice and it was titled 1149: https://davidpetersen.blogspot.com/2012/04/pre-mouse-guard1149-before-mouse-guard.html

This story will 'debut' at Baltimore Comic Con in a few weeks where I will be reading it aloud as the panels are reveled on the screen during the Comics Aloud panel that Sunday at noon (the panel will also have readings of their works by Jeff Smith, Derek Kirk Kim, Mark Buckingham, & Jeremy Bastian). As for print––with Diamond's collapse, I don't know when there will be another Free Comic Book Day, but this tale will eventually be collected in a hardcover of those types of tales (I'm only 1 short away from enough to collect them). In the meantime, I plan to make a recording of my performance and post it to my paid subscribers on Patreon next month.

For this post I wanted to break down the process to create the cover art. I drew it after completing all the art pages for the story. The six characters were all drawn separately on sheets of copy paper and them assembled with each being tinted a different color to help me see which lines belonged to which characters. The rock, log, and plants were drawn after I'd moved the mice into a composition that felt balanced.

The other major element was to add in the heraldic shield emblems I designed last year for those 1149 animals: https://davidpetersen.blogspot.com/2024/04/1149-shield-heraldry.html

I digitally blocked in colors to make sure the layout worked with the base colors and quickly threw in some grassy weeds shapes in the background to fill the void.

The layout was printed out and taped to the back of a sheet of Strathmore bristol 300 series. On my Huion lightpad I was able to see through the surface of the bristol to use the printout as a guide to ink from.

I used a Copic Multiliner SP 0.7 for the linework and the weed silhouettes were inked with a Pigma brushpen.

Because I wanted the inked art to be complete, I inked those heraldic shields into the final art despite having them all inked and colored from before.

The inked artwork was scanned and I started the coloring process. This first step is all about establishing color areas so they can be easily isolated as the rendering goes on (the fur color is different than the cloak, is different from the skin, is different from the stone, etc.) it's a professional version of coloring inside the lines digitally with just flat colors. And as you can see here, it doesn't even matter what colors are used, just as long as they are different from one another. 

At this step I also established color holds, areas where I want the ink lines to be a color other than black. I added color holds to the shield emblems, details on some of the characters, and on the background weeds.

The last step was to do the final rendered colors...well actually first I had to swap out all those wrong colors above with closer-to-correct base colors based on the finished pages from the story. The rendering was almost entirely done with the dodge and burn tools in Photoshop (with a stock textured brush). 

I worried the emblems and the background were fighting the characters for focus, so I pushed back everything behind the characters and muted it out with a soft warm light.

I hope you are either 1: attend Baltimore Comic Con and come to the reading, 2: subscribe to my Patreon at any tier to watch the reading next month, or 3: have patience for an eventual printed version.

Wind in the Willows Color Illustrations

Today my illustrated edition of Kenneth Grahame's classic Wind in the Willows published by IDW has been released in paperback (order here: https://www.penguinrandomhouse.com/books/796673/the-wind-in-the-willows-with-illustrations-by-david-petersen-by-kenneth-grahame-david-petersen/)!

The book has Grahame's original text, with over 70 illustrations by me as well as a new cover (blogpost about that art process: https://davidpetersen.blogspot.com/2025/09/wind-in-willows-2nd-edition-cover.html).

This book took me years to complete the illustrations for, and I'm so pleased to have it back in print, so for this week's post I'm going to share posts about thee of the full-page full-color illustrations in the book as well as the original hardback cover which is now a two page spread in the book.

Art Process Post of
Mole & Rat departing with a picnic basket after becoming fast friends.

https://davidpetersen.blogspot.com/2017/01/wind-in-willows-rat-mole-color.html

Art Process Post of
Rat, Badger, & Mole confronting Toad's motorcar obsession.

https://davidpetersen.blogspot.com/2016/05/wind-in-willows-jacket-process.html

Art Process Post of
Toad getting disguised by the jailer's daughter as a washerwoman to escape prison.

https://davidpetersen.blogspot.com/2016/12/wind-in-willows-washerwoman-toad-color.html

Art Process Post of

The quartet using the secret passage in the Butler's Pantry to take back Toad Hall.

https://davidpetersen.blogspot.com/2017/01/wind-in-willows-butlers-pantry-color.html

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My illustrated edition of Wind in the Willows is available NOW for purchase:
https://www.penguinrandomhouse.com/books/796673/the-wind-in-the-willows-with-illustrations-by-david-petersen-by-kenneth-grahame-david-petersen/

Baltimore Yearbook 2025: Bone

Every year the Baltimore Comic Con has published a convention art book called 'The Baltimore Yearbook' that features a character or property, where that creator is a guest of the convention. Selected guest artists are asked to contribute a piece of fan art for the book to celebrate the creator and property. It allows us to play in someone's world, and offers a chance for attendees to meet new creators as they go around the show floor collecting autographs in their yearbook.

This year's subject is Jeff Smith's Bone! To the left you can see my finished art, and below in the blogpost I'll walk through my process.

When I received the invitation email I knew right away that I wanted to draw the Red Dragon from the series. And while thinking about what else from Bone I'd love to draw, Bartleby (the baby rat creature the Bones adopt) came to mind––but it would be strange to have him without at least Smiley Bone...which kinda meant I was including all the Bones...and they would all be hanging on for dear life to the dragon as he charges ahead.  

Then I started thinking about Grandma Ben & Lucious watching on the ground...and while they were fun to draw––it felt incomplete without Thorn (even though I'm not confident drawing attractive human characters).

All of those bits were scanned and then assembled into a template for the technical specs of the Yearbook's formatting. I was able to move characters around, swap drawings in and out, and change their size.

It became obvious that a huge character like Lucious was going to block too much of the Dragon's running pose, and that a Thorn standing next to her Grandmother was better than her riding the dragon.

Lastly, I realized the composition needed something more––the sky was too open and I didn't want to rely on painting a cloudscape in the coloring stage, so I blocked in a swarm of locusts (you'll understand if you've read Bone.)

I printed out the above layout and taped that to the back of a sheet of 14"x20" Strathmore bristol board. On my Huion lightpad I was able to see through the surface of the bristol down to the printout to use as a guide while I inked the final drawing. I used Copic Multiliner pens (mostly the 0.5 nib, but also a 0.7 and occasionally a 0.3) to do all the inkwork. 

Most of what I needed to worry about the the linework was just getting a clean contour and line weight––especially on the Bones...just a hare off and they look off-model very quickly. This original artwork will be up for auction at the Baltimore convention.

The inks were scanned and I started digitally coloring the piece. This involves blocking in flat colors to establish each color's shape. Most of the color choices had been made by reference to the Jeff Smith comics (with colors by Steve Hamaker) and from my layout.

In this step I also established color holds (areas where I want the inklines to be a color other than black) on the locusts, Thorn, Bartleby, & the Dragon's pupils, and Fone Bone's map. 

The last step was to do the final rendering and lighting effects for the piece. I did this mostly using the dodge and burn tools and a stock Photoshop brush.

This piece will be published in the Baltimore Yearbook in October. That book will be available for purchase at the convention and through the con's website afterwards. The original inked piece will also be for sale in the art auction at the con on Saturday.

Past Baltimore Yearbook pieces & blogposts:

2024: The Tick:
https://davidpetersen.blogspot.com/2024/09/every-year-baltimore-comic-con-has.html

2023: First Comics (American Flagg):

https://davidpetersen.blogspot.com/2023/07/american-flagg-baltimore-yearbook-2023.html

2022: Scary Godmother:

https://davidpetersen.blogspot.com/2022/10/scary-godmother-tribute-for-baltimore.html

2021: Halloween:

https://davidpetersen.blogspot.com/2021/10/happy-halloween-baltimore-yearbook.html

2019: Blacksad:

https://davidpetersen.blogspot.com/2019/10/blacksad-for-baltimore-yearbook.html

2018: Strangers in Paradise:

https://davidpetersen.blogspot.com/2018/09/baltimore-yearbook-strangers-in-paradise.html

2017: Tellos:

https://davidpetersen.blogspot.com/2017/09/tellos-baltimore-comic-con-yearbook.html

2016: Archie:

http://davidpetersen.blogspot.com/2016/08/baltimore-yearbook-2016-archie-process.html

2015: Mouse Guard:

http://davidpetersen.blogspot.com/2015/09/baltimore-comic-con-yearbook-cover.html

2014: Grendel:

http://davidpetersen.blogspot.com/2014/08/baltimore-yearbook-grendel.html

2012: Liberty Meadows:

http://davidpetersen.blogspot.com/2012/09/baltimore-comic-con-yearbook-2012-this.html

Mouse Guard Architectural Model: The Mariner's Bell

The model of The Mariner's Bell––the tavern in Lower Port Sumac from The Black Axe issue/chapter 2 was one that I made when drawing that issue.

It's made of bristol board, cardboard, basswood, paper, and a drinking straw.

In the video below, I talk about building and using the model for drawing that watering hole for 'the filthiest, crookedest, and greediest mice in the territories'.

Direct YouTube link:

https://youtu.be/PZUacaJl8D4

Caledon Spargan: Daggerheart RPG Character

It has been years (decades) since I've properly played an RPG. My friends and I all lament not rolling dice together, but getting our schedules to synch up, the distance we live apart, and the age old 'who'd going to run it?' have been hurdles we've not yet gotten past. But recently my friend Jesse Glenn got inspired to run a newer RPG from the folks at Critical Role called  Daggerheart. 

So-far our group (which happen to be the same friends I made into The Gilkey Warlocks) have gotten together to make our characters. Here is mine Caledon Spargan. And below I'll break down the character art for him.

The character is a Fungril (mushroom person) Ranger (specifically one who specializes with an animal companion). I struggled a bit to find the balance between humanoid and fungus in the face especially, and while searching mushroom types I found turkey tail mushrooms a great inspiration and used them to inform a beard as well as the feet of Caledon.

I drew his body on one sheet of copy paper, and then on a Huion lightpad, I placed another sheet of paper over that one to draw his clothing. The owl was drawn last and was done using reference of a great horned owl photo. The drawings were assembled in Photoshop and I added in a grappling hook (listed as my secondary weapon on my character sheet) with a photo and some quick digital rope drawing.

When I was happy with the layout drawing, I printed it out and taped it to the back of a sheet of Stathmore 300 series bristol. On my lightpad I was able to use the printout below as a guide while I inked on the surface of the bristol. I used a 0.7 nib Copic Multiliner SP pen for the whole thing.

There was a lot of little detail that I probably should have used a smaller nib for, but I wanted the challenge of using a light touch with the 0.7 on the face and lichen details on his clothes.

The other trick was to add just enough texture to each garment or his skin to make it a different material without overwhelming the piece and focusing the heavier handed ink to the feet.

I scanned the inked art into Photoshop and started the color flatting. This is just to separate the different parts of the drawing as different colors, a professional coloring-in-the-lines. To the left side I just used whatever fake colors I quickly selected to get the flats established. 

Then on the right you can see where I landed with my final base color choices. There were many variations in between (going with red/orange for the mushroom bits and green for the armor. Then back to green mushrooms with warmer brown leather...until I got to this blue and green combo I was pleased with. At this stage I also established color holds (areas where I want the inkwork to be a color other than black) for the mushroom spots on his skin and for the outlines of the armor lichen.

I got from the pencils to the end of the flatting stage after one sitting––it reminded me of back when I used to do Discovering Dragons, and it felt good. But I waited till the next day to render the final colors. I did so using the Dodge and Burn tools with a stock textured brush.

Drawing your RPG character (as well as the other players in your party, if you happen to be the 'artist' of the group, is one of the real pleasures of playing an RPG and part that I certainly missed. I hope to draw the other two player's for this adventure: a Drakon (Dragon person) Seraph and a Halfling War Wizard.

Wind in the Willows 2nd edition Cover

I am thrilled to announced that after being out of print for many years, my illustrated edition of Wind in the Willows is be re-released by IDW October 7th 2025!

Back when I first illustrated the book about a decade ago, it was a bucket list project for me. Getting to return to the book and create a new cover for the new edition was a delight and offered me a chance to update the cover. Here you see the cover with title, spine treatment and back blurb, but below I'll go into the process of revisiting these riverbankers and wild wooders.

One of the troubles I had with the first edition cover (which will be included as a 2 page spread illustration in this edition) was a scene that included all four characters. I see this book as a true ensemble cast, but the number of times they are all together are very limited and mostly occur at the end of the book. So for this cover I went with circular portraits of them over a scenic view of the river with drapes of willow branches hanging down.

I'd already drawn versions of these portraits for bookplates that were never produced for the first release, I cobbled those together with branches in one of the existing interior illustration, redrew Rat and Mole messing-about-in-boats for the back cover...and drew a new version of Toad Hall...which I heavily based on this photo of the back of Mapledurham House, a location long used by other Willows adapters as reference and what I used my first go-around.

With the above layout assembled using old and new drawings with digitally blocked in color, I set about inking the new version. I know I could have kept the old portraits, but for the sake of the new piece being a complete work of art and to keep the line quality consistent through the whole piece, I inked the whole thing from scratch.

The original is roughly 24" x 16" and even at that large scale it was difficult to ink the details of Toad Hall as well as I wanted.

I scanned the art (in several passes since something that large won't fit on my scanner bed) and started the coloring process. The first step, called flatting' is about establishing all the color areas with flat colors (though there are a few quickly painted gradients I put down quickly to map out what my plan was. This step also includes doing color holds (areas where I want the inkwork to be a color other than black) and pretty much everything is a color hold here...the portraits are a dark brown the frames are a warmer brown the water, the clouds, the willows, and the distance all get some tone to soften this image so there are no harsh black lines.

The last step was to render the final colors. I mostly used the dodge and burn tools in Photoshop while using a stock textured brush––but I also used the paintbrush with another soft textured brush for some of the more subtle color transitions. Here you can see the full cover art with no trade dress.

Wind in the Willows will be in stores October 7th 2025 published by IDW

And you can pre-order it here: https://www.penguinrandomhouse.com/books/796673/the-wind-in-the-willows-with-illustrations-by-david-petersen-by-kenneth-grahame-david-petersen/

Saxon & Kenzie

This is a colored version of an inked piece I did (long enough ago I can't remember if it was just for fun or a commission).

I enjoy getting a chance to go back and color these to add some more depth and clarity while also hopefully making some new process blogposts for you all to see and eventually to be included in a new sketchbook (though I just released on this summer: Axe Wielders which is still available for sale)

Below is the process for creating the illustration as well as coloring the artwork.

Pencils:
The start of this was done as two separate drawings on different sheets of copy paper of both Saxon and Kenzie. Those were scanned and tinted different colors in photoshop as I digitally blocked in a tree and some leaves (and digitally added some bark detail to the tree). The grass was it's own layer where I had an outline so that each blade of grass I drew already had a hard line around it for clarity. Oh! and I dropped in a 3D model of a sword because I didn't draw one beyond a directional line in the pencils

Working like this allows me to still draw some on paper while also getting the resizing and editing benefits of digital.

Inks:
With the layout complete, I printed it out and taped it to the back of a sheet of Strathmore 300 series bristol. On my huion lightpad I was able to see through the surface of the bristol down to the printout to use as a guide as I inked. I inked this with Copic Multiliner SP pens (the 0.3 & 0.7 nibs).

Most of the 'work' in this piece was in the texture of that bark and trying be sure it wasn't overwhelming and had some depth while leaving the forms of the characters clear.

Color Flats:
The first step of digitally coloring a piece is do establish the color areas with flat colors (a professional version of coloring-in-the-lines). Most of my color choices were already established with the characters themselves and the layout, but I adjusted them at this stage to make the piece more cohesive.

I also established color holds (areas where I want the inked line art to be a color other than black) on the background grass and the leaf veins.

Final Render:
The rendering was all done with the dodge and burn tools in Photoshop with a stock textured brush.

Here my trickiest part was getting a sense the light was coming in from the right on the character as well as a the leaves and the highlights on the bark.

This piece will be included in the next sketchbook out sometime in 2026!

Mouse & Magpie Illustration

This is a colored version of an inked commission I did for a fan a long while back. The idea was a mouse horder/collector (insert pack-rat joke here) along with a magpie companion.

I enjoy getting a chance to go back and color these to add some more depth and clarity while also hopefully making some new process blogposts for you all to see and eventually to be included in a new sketchbook (though I just released on this summer: Axe Wielders which is still available for sale)

Below is the process for creating the commission as well as coloring the artwork.

Pencils:
The start of this was done as three separate drawings on different sheets of copy paper. The mouse was drawn first and the magpie was drawn using photo reference. On top of those sheets on a lightpad I drew the mouse's collection of goods. Those elements were all scanned and tinted different color in photoshop and moved and re-sized until it fit well inside the square border of the piece. A quick amount of tan digital painting was done to imply the areas of the tree background and the rocks and stick debris in the foreground

Inks:
With the layout complete, I printed it out and taped it to the back of a sheet of Strathmore 300 series bristol. On my huion lightpad I was able to see through the surface of the bristol down to the printout to use as a guide as I inked. I inked this with Copic Multiliner SP pens (the 0.3 & 0.7 nibs). Since this original art is what the fan who commissioned this piece will own, I always want the art to be crisp, clean, and detailed enough to stand on it's own without color.

The original was then shipped off to be with it's owner, but not before I got a good scan of it.

Color Flats:
The first step of digitally coloring a piece is do establish the color areas with flat colors (a professional version of coloring-in-the-lines). Here the final color palate isn't as important as being able to easily isolate any part of the piece when it comes time to render it (like being able to grab just the mouse's fur or just the cooking pot, or the sword in the magpie's beak, etc)..so while I got the backgound and figure colors close to final in this step, with all the bits of the mouse's collection overlapping each other, I needed to abstract that and just do vibrantly wrong colors to be sure I got everything and enough separation between them all.

Final Render:
I'll admit, this piece was hard to manage so the viewer could still focus on the characters while being able to get lost in the objects. The rendering was all done with the dodge and burn tools in Photoshop with a stock textured brush. I forgot to mention on the step above, I added a color hold (where I want the ink lines to be a color other than black) to the trees in the background as well as the ground as it recedes into the background on the left.

This piece will be included in the next sketchbook out sometime in 2026!