2021 Bookplate Process

Every year since 2012 I've been creating a new Mouse Guard bookplate as a special item for fans. The idea is that, with these signed by me, even if you can't bring me your physical copy of a Mouse Guard book, this bookplate can be glued in making your copy signed.

I'll be releasing this year's new bookplate in my online store in March when I'm hosting my during the  #ONLINECON event on my Twitch channel. Currently you can buy several bookplates from past years (and see blogposts for those bookplates at the bottom of this post). For this Blogpost I wanted to share the process for creating the art for the bookplate this year.

I knew that I wanted to do an image that had a woodblock feel to it. My degree is in printmaking, so I was also drawn to the idea of actually carving a block (or perhaps a few blocks) for the process instead of digitally faking it (I split the difference on that––I'll talk more about the digital fakery later). For inspiration I was looking at blockprints from Japan as well as the Arts & Crafts movement landscape prints from California. A fan of mine suggested I check out the work of David Lance Goines for inspiration, and I found this poster he did for the Berkley Horticultural Nursery...it became the starting point. I knew I wasn't going to do all the hexagon background pattern, but I could incorporate the pose, the sunburst-halo, and the gathering of flora.

I usually don't draw digitally, but in this case, I did an entirely digital layout for the art. I changed the flowers to some type of grain being harvested, which is also why I decided to add the scythe. Having carved lots of blocks for printing before, I kept that experience in mind as I made my lines...not to make shapes that would be too difficult to carve around, lines that would be bold and could be easily formed with knives.

As for the colors, I got a little ambitious. Each color should mean a separately carved block––and it was at this point where, liking the look of the colors, I decided to compromise. I'd carve the darkest linework as a traditional print, and get all the color through digital trickery.

When I was in school, the technique for transferring an image from paper over to a wood block (or in this case, linoleum) I'd use graphite paper or rub pencil on the back of the paper and then retrace my drawing. But I found a tutorial online for transferring an inkjet printout to linoleum that seemed much easier. First I gently roughed up the lino surface with some fine grit sandpaper, and then painted it with a slightly thinned out wood glue.

I ended up doing this process twice because I screwed up the first time and thinned the glue out too much.

While the glue is getting tacky, I placed the printout of my linework onto the linoleum. I smoothed out the paper with a rubber brayer. This made sure the paper was really in good enough contact with the glue to bond properly. 

Then I had to wait. Wait for the glue to really dry. Not just a little, but truly dry (this may have also contributed to my first attempt failing and me needing to redo the process). I used a hair dryer for a bit to help with the process--but I still waited hours before attempting the next step.

With a damp towel, I rubbed the paper until the paper started to peel into little nubbins. It was important to to get the paper too wet––it can reactivate the glue, but just to get the paper to disintegrate into little balls of pulp, while leaving the ink bonded to the linoleum block. This was the step where I failed the first time, and I think the glue was too thinned out and wasn't dry enough, so everything washed away down to bare linoleum. There was still some paper material in areas that looked like fog over the design, but it was clear enough to see to carve.

I streamed the carving process on my Twitch channel. I used the same carving knives I had in college––which frankly were too big for this project, but I still managed.

The basic idea of relief printing is that you want to carve away any part you don't want to print––so you leave the parts you want to print standing. It's about working in the negative space.

With the same brayer (roller) from earlier, I inked up the surface of the block and pulled a few prints of the linework once the block was carved. I also took an uncarved block and printed a few full squares. I didn't pull perfect prints of these, the goal wasn't a solid color, but a subtle texture with imperfections. These were to use for the digital trickery step--I could use the texture of them for the color areas.

With the all the bits scanned, I could start the digital trickery step. You can see in the layer menu that I have a layer for each color (each tinted to match the color scheme from my rough version) and then masked out (the black icon next to each layer) so that the color shows though only where I want it to. I still had to make makes that would look and feel like block printed shapes as I made the digital masks for where each color would show

Overall, I'm very pleased with the results. I think it looks like a block print, it looks like Mouse Guard, I got the satisfaction of doing some traditional printmaking again, but I didn't have to go through the headache of carving seven blocks and try to register them all to line up properly. The last step of the bookplate process was to add the 'This Book Belongs To:' text and the lines for a name and the edition numbering. I used parts of the border to copy and create those lines so they looked cohesive.

I hope you enjoy this new bookplate when it's released in March...and below you can look back at the past bookplates and the blogposts about them:

Blogposts:

2012 – Lino Print

2013  – Stained Glass

2014 – Embroidery

2015 – Mosaic

2016 – Pencil Rendering

2017 – Engraving

2018 – Wood Painting

2019 – Gouache Painting

2020 – Wood Carving 

Rand Commission Art Process

Earlier this year I took on some inked commissions (something I rarely do anymore) as part of my August 2020 OnlineCon. One fan requested the Guardmouse Rand around the era of the Weasel War. In addition to inking the piece and sending it off to the commissioner, I've been coloring these pieces with the idea that they will eventually end up in a sketchbook or something similar. 

To the left you can see the finished colored piece, but below I'll run through the art process for creating it.

I started with a drawing of Rand, the Guardmouse with the copper shield, that I did on copy paper. All I was after was a cool pose. Then I decided that to signify this being around the time of the Weasel War, I should add a dead weasel for timeline-reference...but a weasel skeleton was something I thought looked infinitely cooler than just a deceased mustelid. I drew the weasel bones with the armor and clothes on a separate sheet of copy paper and after scanning both drawings and adding some quick digital color to block in shapes I was able to cobble together a composition. I have a visual association of Rand and dandelions, so those became a very easy and quick background element.

I printed out the above layout composition 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 to use the printout as a guide to ink by. I used Copic Miltiliner SP pens (primarily the 0.7 nib) to ink in the lines. It's in this step that I'm concerned with line weights, textures, spot of black and detail that isn't in the pencils. If memory serves, I inked this all on my Twitch stream as fans watched and asked questions. The inked art was then carefully packaged and shipped to its new owner.

But before the piece was shipped off, I got a high quality scan of it so I could use the art for my own purposes down the line––sketchbook or something. The coloring process starts with painting in all the areas with basic flat colors, establishing what parts are which colors. It's not necessary that everything be the same color as what will appear in the final, but just making the different color areas very easy to re-isolate during the final rendering process. At this step I also painted in a color hold (an area where I want the inkwork be be a color other than black) on the background and the pattern on Rand's shield. 

The last step is to render all the color––to add highlight, shadow, and texture. I do this mostly using the Dodge and Burn tools in Photoshop while using a stock textured brush. 

In my most recent sketchbook, Dawn, Daye, & Dusk I played a lot with lighting effects for different times of day––and I think it carried over into this new piece where I have more sun and lighting effects than I have in the past.

The Brockball Bruin

Last Friday (New Year's Day) I started a monthly community draw-along event called #DrawTheExtinct where I posted an image from an old block print I made with a few animal photo inspiration prompts with the idea to create an imaginary extinct animal. I worked on my piece live on my Twitch stream while viewers worked at home and then on Monday we shared our finished pieces. 

Here is my finished Brockball Bruin. And below are my steps to create it as well as the community submissions.

We started with the prompts of my original linocut print from a piece titled 'Extinct' as well as a brown bear cub, a badger, and a pangolin. I named the creature 'The Brockball Bruin'. I told the viewers that they could use any combination of the inspiration prompts––they could make their version as cute and cuddly as a pocket pet stray kitten, as monstrous and deadly as a giant kaiju destroying cities, or anything in between. I also wanted this to be an excuse to get their pencils moving. I invited all skill levels, because I'm a firm believer that you shouldn't have to be good at something or pursuing mastery of it to just simply enjoy the act of it...and art is no exception.

On the Friday stream I drew out my pencil sketch on a sheet of regular copy paper with a mechanical pencil and a HB lead. I tried to get some of that rolly-polly feel of a Pangolin, but without really using the armor so it still had the badger and bear fur, but in tufts that echoed scales. 

Once the pencils were done, I scanned the drawing as a back-up. I also tinted the drawing red, and I enlarged it a bit bigger when I printed it out to help on the next step.

Still on the Friday stream I inked the beast. I taped the above printout of my pencil drawing and taped it to the back of a sheet of Strathmore 300 bristol. On my Huion lightpad, I was able to ink the piece on the bristol while still able to see the printout below to use as a guide. There were some dark areas I didn't know how I was going to ink from the pencils––to fill them in, do hatching, some texture, or leave them open for a dark color tone...the eye mask area is where this came into play the most. I ended up just inking it fairly dark only leaving some thin open areas for color and texture.

After the stream ended I scanned the inks and started prepping the piece for final colors over the weekend. I have a stock parchment that I'll use for this series' background. So, it was just about adding flat colors to the Brockball Bruin before starting the final rendering. I originally thought I'd use this warm brown/cream palate for the fur and underbelly and slightly desaturated and muted colors for the paw-pads and nose. When I got to rendering it I switched to cooler fur and warmer skin.

Below you can again see the final rendered colors with a border and type applied.

But, as this is a community event, I wanted to share all the other entries posted in the Discord (some are works-in-progress I've been told). I awarded a prize and we voted together on a few more (prize winners marked with *) on Monday's Twitch stream and we all enjoyed seeing what each other had done. I hope we get even more participants next month (first Friday!)

Valkien

TwoFarWest

Bunce *

FireAntFarm

The Illustrator

Serarel

Au Tiger *

Dark

MrJoshua

VernNYC

Cheryl

Sarah Crumb

Nate Pride

 

Draw The Extinct

This Friday, on New Years Day (Jan. 1st 2021 4-8pm east) I'll be streaming over on my Twitch channel: twitch.tv/davidpetersen with a new monthly community draw event called #DrawTheExtinct. We'll be doing it on the theme of drawing made-up animals based on a 2001-ish print I did. On the first Friday of each month I'll provide some reference and inspiration prompts as well as a name for our fictional beastie. I'll be awarding some prizes to a few standouts of the drawings you fans do (and submit either through the discord or on social media using #DrawTheExtinct).

The first Extinct Creature up is "The Brockball Bruin"

See you in a few days at the start of the New Year, and be ready to draw!

2020 Twitch Holiday Party Stream

 Tomorrow I'll be hosting a Holiday Party on Twitch from my livingroom! Come join me from 4-8 as I'll be chatting with you all and inviting you to come on the stream with me!

There will be two ways to join the stream to chat with me, share a holiday message, or share memories of your favorite Christmases. 

Video:
 Jump into the Google Hangout link I've created and have your camera and mic on. I'll be bringing guests one at a time onto the stream.

Here is the link for the Google Meeting room:

https://meet.google.com/xka-sjiu-mad

Audio:

If you're camera shy, but would still like to come onto the stream, Join the stream via my Discord by joining the server using this link:

https://discord.gg/JnBU2kE

In the Discord channel you will see a voice channel--that's where I'll have you click to join the stream.

Hope to see you all tomorrow for my last stream of the year––and where I'll also be giving away some prizes!

Mouse Guard Movie VFX Artists Video

 Back in August as part of ONLINECON on my Twitch channel I invited 5 of the VFX/Concept artists: Aleksey Pollak, Darek Zabrocki, Didier Konnings, David Masson, & Hristo Chukov, who worked on the (now canceled) Mouse Guard movie. Instead of using that time to lament the cancelation, I wanted to celebrate the wonderful creative work in developing Mouse Guard as a feature film property. Below you can watch the video show and tell where they share their work and experiences.

 

Direct Link to YouTube: https://youtu.be/jVOXNVsE8-M

Plotmasters R-Wars

The latest episode of The Plotmasters Project went up on the site today. It was an episode Jesse and I recorded LIVE on my Twitch stream for ONLINECON titled: R-WARS! To the left you can see my finished art for my Plotmasters update of the idea. Below in this blogpost I'll show a few steps of the process as well as a better look at the individual character re-designs.

If you haven't seen the episode, I've posted the video at the bottom of the blogpost, or you can link to it directly on YouTube here: https://youtu.be/d-qAckOx1mE

The origins of R-Wars were from our mutual friend Mike Davis (real life Rand)--he'd wanted to create a Star Wars/Wing Commander style comic. We share a lot of the old and embarrassing artwork in the episode, but here for quick reference is my mid-90's versions of the core group: (Clockwise from top) J-Man, Zubelflex, Sal, & Davis (or Mike or Hiro depending on what incarnation of the project this was) 

At some point, I'd decided to keep the name R-Wars and make the 'R' stand for 'Resalvage' and theme their space exploits to be about fighting over scrap ships & debris.

The thrust behind the design choices for my Plotmasters update were to think of the characters as they would be built by the Jim Henson company as fantasy puppet characters. Lots of textures, wrinkles, layered costumes––and a variety of character shapes ranging from what would be mouth/hand puppets, to human performers with animatronic masks, to walk around full-body characters. To the left you can see my pencil drawings that lead to my final character designs.

The next step was to ink those characters. Because I wanted to have each character isolated for a nice vignette, I inked them all separately––with the plan to assemble them digitally into a group shot when they were all finished.

I inked these on a Huion light pad with printouts of my pencils taped to the back of some Strathmore 300 series bristol. I inked these all live on my twitch stream with Copic Multiliner SP pens.

Below, in the final rendered color images, I'll go into some character design choices for each one:

DAVIS:

Let's start with the only human in the crew. At different points in the history of drawing R-Wars characters (1991-2006), I'd drawn mike as a kid, teen, and adult. For this re-design I thought making him young, but not a child was the right way to go. To help with reinforcing his youth I made sure some of the gear (belt & gloves) were too large for him--like Gully in Battle Chasers or Jarek from Tellos). I also wanted to emulate the feel of a young Luke Skywalker looking out at the twin suns of Tatooine––and perhaps I got a little too close to those aesthetics with the hair and clothing (but I tried to play with the color to shift back away from that particular pre-Jedi). Davis is the pilot of their vessel, a homage to my pal Mike Davis who came up with the original R-Wars characters  and always wanted to be a pilot.

J-MAN (now JAEMAN):

The original version of him was Mike's homage to the Kilrathi from Wing Commander, and Jesse Glenn and I always drew him like a taller version of a cat from Cats Trio, but with no nose. For my update I decided to use the posture of a full-body walkaround puppet (like Big Bird, Bear in the Big Blue House, or Earl Sinclair). I also decided to give the character a role––he'd never been fleshed out as to what his character contributed. I made him the captain of the ship, and so I gave him some classic ship captain trappings with a more uniform like coat (like Captain Gloval from Robotech), a turtleneck tunic, and a pipe.

ZUBELFLEX:

Zube was always meant to be a bit of a Han Solo character––perhaps a little more lighthearted though...so I just leaned hard into that design archetype. Most of the update was about making his original costume more interesting (giving the long vest some trim (which was based on the lining of a trench coat I wore in high school), quilting his shirt, and defining his boots). In fact, the pose is the same as a promo photo Harrison Ford took as Han back in 1977. Zube didn't have a definitive crew role, but I always described him as a crack-shot furball––so he's been given the task of security.

SAL:

Sal's name came from 'Salamander' and he was always the mechanic of the crew. For my redesign I kept his basic silhouette & proportions, but played up the alien species aspect with scales, gils, and eye-stalks. The pouch bandolier is completely an homage to Chewbacca's. If R-Wars was being developed as a live action project, I'd see Sal as a hand puppet who was occasionally a little person in costume for walking sequences.

DOC (formerly CAP):

This character started out as Cap Tranfo (a character I made up when I was 13)––and not at all a part of R-Wars. But over the years, I incorporated him in. For his original incarnation he's a scientist who becomes part of the intergalactic space police after a few years of space salvaging. He had metal buckets that he'd sometimes have over his hands or legs that could transform into various tools (jet engines, saws, grappling hooks, etc.)  For the update, I changed his transforming buckets into an augmented mech gauntlet. It allows him to move heavy scrap, but also a precision for any medical treatments. Because I'd given Jaeman the new role of Captain, it seemed odd to keep this character's name as Cap...so I changed it to Doc as a nod to his new science role as the medic.

Over the years of drawing the R-Wars characters, neither Jesse or I had ever drawn their ship. And since I design structures better in 3D with my hands, I made a model of a space freighter that had something very much like a shipping container/garbage truck aesthetic to the area that salvaged parts are stored. The model is amost entirely made of shipboard (the backs of bristol pads) with some rigid tubes, cardscock, and thin dowels in for details.

In the inked illustration of the ship, io get rid of the silliness pardoy-like name of 'R-Wars' as a title, I decided that the ship would have a call sign R.WOR. That way it still had some connection to the old, while bringing it firmly into new territory that could be developed for real. 

Here again is the final art of all the characters and the R.WOR composited together into a single poster-like image.

The Plotmasters Project Episode: R-Wars:

Direct link to YouTube: https://youtu.be/d-qAckOx1mE

Mouse Guard 'Puppet Theater' Process

I've released a new Mouse Guard sketchbook titled 'Dawn, Daye, & Dusk'. It can be found in my online store: https://mouseguard.bigcartel.com/ 

 I've created new pieces for almost the entire contents of the collection––mostly themed on trying to get certain lighting effects in to show time of day.

For this piece to the left, The time of day (and season) is being shown through a puppet show. Below I walk through the steps of creating this piece.

Inspiration/Reference:

I started with a Mouse Guard puppeteer commission I did earlier this year. Instead of marionettes (mouse puppets I've drawn many times) I went with Punch and Judy style glove puppets. So I gathered more reference materials with Punch & Judy puppets, and a few different fold out puppet theaters. For the backdrop to change from night to day, I wad inspired by the moon plate on some clocks that show the phase of the moon.

Layout/Pencils:

I drew most of this piece in one go––the puppets and the stage. After I scanned my drawing into Photoshop, I did make some adjustments, moving the characters and elements around a bit until it was a better composition. I also added some digital elements for the pattern of the star-shaped details, the text at the top of the stage (referencing the Apple Kettle Puppet troupe mentioned in Baldwin the Brave and Legends of the Guard Vol.2), as well as the mouse-sun & moon faces that I took from a previous illustration.

Inks:

After the above layout was finished, I printed it out on standard copy paper. That paper was then taped 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 and down to the layout to use as a guide as I inked. For the inking pens, I used a Copic Multiliner SP 0.7. I inked this piece live on my Twitch stream

Flat Colors: 

Once the inks were finished, I scanned them into Photoshop to begin the coloring process. The first step in digitally coloring a piece is to lay down flat colors––no rendering, no texture. It's a professional version of coloring within the lines. Establishing where every color starts and stops. Also at this stage, I added in all my color holds. These are areas where I want the ink lines to be a painted color other than black. I isolated and painted the linework of the time-of-day-and-season disk, the Apple Kettle type, the painted sword and scroll logo, and the painted features on the puppets.

Final colors:

I rendered the final colors using the Dodge and Burn tools in Photoshop. I do this all with a textured brush, while also making subtle adjustments to the tools options so that I can create muted and desaturated shadows and more vibrant highlights. The final piece is included in my latest Mouse Guard sketchbook collection: Dawn, Daye, and Dusk (available now in my online store)