Soren: Daggerheart RPG Character

My RPG friends from childhood have reunited to roll some dice again. Jesse Glenn got inspired to run a newer RPG from the folks at Critical Role called  Daggerheart. We've had two sessions so-far, a character creation session and then the first part of the adventure. I've posted art process for my character and Mike's character (see links at the bottom of the post)

For this post I'm sharing my drawing and the process of making the art for Nick Kowalcyk's character Soren.

Soren is a Drakona (Dragon person) Seraph who wields a divine sword for his dragon god Azhdaha. Nich gave a me a lot of free reign on the dragon design parts (he asked the horns not be too big or crazy) and focused more on his skin tone being muted earth colors (and an eye that has a pupil of flame that I couldn't show well enough in a drawing this size).
I looked at several references for poses of human knights from RPG artists before settling on drawing this readied stance I could add my dragon head drawing to. The horns, sword, and crossbow were images/3D assets I pasted in as shape holders to make life easier, and the same for painting in a quick tail shape.

The layout was printed out and taped to the back of a sheet of Stathmore 300 series bristol. On my Huion 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.

The texture of the mail armor was the daunting part, how do space that so it was more open in the lighter areas and more dense in the shadows. To offset those textures I wanted his other armor bits to reflect his mountain upbringing with warm quilted bits and fur lined bracers/shin guards.

I scanned the inked art into Photoshop and started the color process. This first step is just to separate the different parts of the drawing as different flat colors, a professional version of coloring-in-the-lines.

As I said, Nick asked that Soren's skin be muted warm earth tones, which gave me some room to do richer warm tones for his other clothing and a cool green/grey for the armor.

At this stage I also added in color holds (areas where I want the ink lines to be a color other than black) to Soren's pupil and dragon spots.

The final colors were rendered using the dodge and burn tools in Photoshop with a stock brush that also adds a pebbling texture.

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 look forward to playing more with my old pals and I'm glad we have these images to help get us in the spirit of our characters and have a unified idea of the visualizations of this adventure we all make up together.

Below is a group shot I assembled of our characters together:

If you missed the process art posts for the other two characters here are links:

Caledon Spargan: http://davidpetersen.blogspot.com/2025/09/caledon-spargan-daggerheart-rpg.html

Winnifred Cloverdale: https://davidpetersen.blogspot.com/2025/12/winnifred-cloverdale-daggerheart-rpg.html

Winnifred Cloverdale: Daggerheart RPG Character

My RPG friends from childhood have reunited to roll some dice again. Jesse Glenn got inspired to run a newer RPG from the folks at Critical Role called  Daggerheart. We've had two sessions so-far, a character creation session and then the first part of the adventure. After we made characters I drew my character and posted about the art process here: http://davidpetersen.blogspot.com/2025/09/caledon-spargan-daggerheart-rpg.html

For this post I'm sharing my drawing and the process of making the art for Mike Davis' character Winnefred Cloverdale.

Mike's character is a halfling war wizard. Mike had done some quick doodles of her with a punk pixie haircut and a houndstooth scarf. I asked him about what other details I should incorporate. He told me about her hallowed axe, a leather strap armor skirt, and a pouch of cards she uses to cast her spells. 

Taking all of those bits into consideration I started drawing her on copy paper. It took a few drawings of her head/face before I was happy to merge them into another drawing or two of her body and gear, all assembled in Photoshop and tinted different colors to keep the drawing bits clear from one another. I warped a houndstooth pattern into the forms of her long scarf. 

The above layout was printed out and taped to the back of a sheet of 300 series Strathmore bristol. On my Huion lightpad I was able to see through the bristol surface down to the printout to use as a guide as I inked. The inks were done with Copic Multiliner SP pens (the 0.7 nib mainly).

Beyond the struggle I have with drawing/inking any human face the other challenge was the houndstooth pattern. I decided to isolate part of that pattern almost like a rune on Winnifred's hallowed axe. Most everything else was rather straightforward inking-wise.

When the inks were scanned into Photoshop I could start the coloring process. That first step is called 'flatting' and just about filling in the various areas with flat colors (no rendering, gradients, or textures). Mike told me Winnifred's hair was blonde and that he always loves green/olive incorporated into his character designs. 

At this stage I also established color holds, which are areas I want the inkwork to be a color other than black. They are on the houndstooth, here eyes, freckles, axe runes, and the smoking magic trail (though by the end I also did some on her eyebrows to soften them up a bit.

The last step was to do all the color rendering adding highlights, shadows, and textures to the base colors. This was done with Photoshops's dodge and burn tools.

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 still have yet to share Nick's character: a Drakona (Dragon person) Seraph which I hope to share soon along with all of the characters together. 

Wind in the Willows Quartet gears up Illustration

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/)!

This book took me years to complete the illustrations for when it was first released, and I'm so pleased to have it back in print, so for this week's post I'm going to share the art process of one of the inked illustrations from the book: Gearing up.

"Rat, with an air of excitement and mystery, summoned them back into the parlour, stood each of them up alongside of his little heap, and proceeded to dress them up for the coming expedition. He was very earnest and thorough-going about it, and the affair took quite a long time. First, there was a belt to go round each animal, and then a sword to be stuck into each belt, and then a cutlass on the other side to balance it. Then a pair of pistols, a policeman's truncheon, several sets of handcuffs, some bandages and sticking-plaster, and a flask and a sandwich-case."

This is one of the main visuals that I always wanted to tackle when daydreaming about someday drawing an edition of Wind in the willows. Before this Rat has gone around making piles of weapons; pistols, swords, etc for each of his friends so they can storm Toad Hall and take it back from the weasels. It's also from one of the few chapters where all four of the main characters are together. Here you can see I've put all the drawings above together, edited in Toad's weapons, and color coded each character to make them easier to see apart from one another.

I inked the final black and white illustration on Strathmore 300 bristol by taping a printout of the above layout onto the back of it and placing it on a Huion light[ad where I could see through the bristol to use the layout as a guide. For pens I used Copic Multiliner SP pens (the 0.7 & 0.3 nibs).

The textures on each of the character's clothes is where most of my focus was so that there were different densities of grey and the illustration wasn't overly muddy with clarity of each character's body language.

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/

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).

Badger's Kitchen Hearth Illustration

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/)!

This book took me years to complete the illustrations for when it was first released, and I'm so pleased to have it back in print, so for this week's post I'm going to share the art process of one of the color illustrations from the book: Badger's Kitchen Hearth.

"...they found themselves in all the glow and warmth of a large fire-lit kitchen.The floor was well-worn red brick, and on the wide hearth burnt a fire of logs, between two attractive chimney-corners tucked away in the wall, well out of any suspicion of draught. A couple of high-backed settles, facing each other on either side of the fire, gave further sitting accommodations for the sociably disposed."

"...from the rafters overhead hung hams, bundles of dried herbs, nets of onions, and baskets of eggs. It seemed a place where heroes could fitly feast after victory, where weary harvesters could line up in scores along the table and keep their Harvest Home with mirth and song..."

What I found most important about this scene was the feeling of the setting as described from Grahame's text above. So, I built a model of Badger's hearth and of the two tall backed settles (past post about that model: https://davidpetersen.blogspot.com/2017/02/wind-in-willows-models-badgers-kitchen.html

With the setting drawn using the model as reference, I drew in our three characters after the visitors have changed out of their wet snowy clothes and into warm robes and slippers on another sheet of paper (probably overlaying it with the background drawing for perspective and contact point references). The drawings were scanned separately and assembled in Photoshop.

With the above layout done, I printed that out and taped it to the back of a sheet of Strathmore 300 series bristol. The piece was inked on a Huion lightpad where I could see through the bristol to the printout as a guide to ink from. I used Copic Multiliner SP pens (the 0.3 & 0.7 nibs).

Even though I knew this piece was going to be in color, I needed the inks to enforce the idea that the hearth was emitting the warm glow and the rest of the kitchen started falling into shadow. So I used a lighter touch on the texture and detail the closer everything got to the flames and more dense with ink the closer to the edges of the illustration.

The inks were then scanned and I started the coloring process of establishing flat colors for everything. Some of the colors were already established from the cover art and the other illustrations I'd done of the characters, but getting that overall warm tone of the brick and stone and wood took some playing around even at this early base color stage.

The details of all the food stores hanging from the ceiling were hard to color––I needed the various objects to read properly as hams, onions, garlic, eggs, etc, but I also needed them to fall away into those outer edges of the illustration and not draw attention to themselves. 

This step is also where I established color holds (areas where I want the ink lines to be a color other than black) for the flame, fire glow, Mole's glasses, Badger's gown, Rat's coat, and the china pattern on the table.

The last step was doing the final coloring render––adding in shadows and highlights and textures. That was all done in Photoshop using the dodge and burn tools with a stock textured brush.

It was hard to strike that balance of warmth and glow while also implying the rest of the kitchen has fallen into a late winter's night darkness.

"The kindly Badger thrust them down on a settle to toast themselves at the fire, and bade them remove their wet coats and boots. Then he fetched them dressing-gowns and slippers... In the embracing light and warmth, warm and dry at last, with weary legs propped up in front of them, and a suggestive clink of plates being arranged on the table behind, it seemed to the storm-driven animals, now in safe anchorage, that the cold and trackless Wild Wood just left outside was miles and miles away, and all that they had suffered in it a half-forgotten dream.

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/

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).

Wind in the Willows Model Reference

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 the physical models I used/built to help me visualize & illustrate the book. Below are photos & videos of the models of Toad's Caravan, Rat's boat, Badger's Kitchen, & Toad Hall

Toad's Caravan & Carriage House Models

Direct link to Caravan Model Video: https://youtu.be/jszqVd476aI

Direct link to Carriage House Model Video: https://youtu.be/LF9jhk1ZIII

Badger's Kitchen Models

Direct link to Cupboard Model Video: https://youtu.be/H-2rMZmGlBQ

Direct link to Kitchen Hearth Model Video: https://youtu.be/y-HFxwQVlN8

Ratty's Home & Boat Models

Direct link to Dining Room Model Video: https://youtu.be/gufQ1VCN6KA

Direct link to Boat Model Video: https://youtu.be/NPFBCWlYbN8

Toad Hall Models

Direct link to Great Hall Model Video: https://youtu.be/glXnKesQPxU

Direct link to Foyer Model Video: https://youtu.be/CyQf2tcyzG0

–––––––––––––––––

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/

Wind in the Willows B&W Illustrations

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.

Inked Illustration Process Post of
Rat & Mole arriving late at Badger's Home.

https://davidpetersen.blogspot.com/2016/09/wind-in-willows-badgers-entry.html

Inked Illustration Process Post of
The Field Mice packing up and moving after the harvest.
https://davidpetersen.blogspot.com/2016/10/wind-in-willows-field-mice-illustration.html

Inked Illustration Process Post of

Toad Hiding from the Authorities after escaping Jail
https://davidpetersen.blogspot.com/2016/08/wind-in-willows-toad-in-hiding.html

–––––––––––––––––

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/

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

–––––––––––––––––

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/

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!