I filmed a few time-lapse videos while I was drawing a recent commission. It’s of a stilted city, similar to a couple I’ve drawn before. I’d already sketched it out in pencil before I started filming, but I’ll try and do the whole process from start to finish at some point.
The first shows me putting in some initial lines with a fine pen. This is how I usually start inking any of my drawings. It’s basically outlining all the main elements at this point.
The second shows how I add a nice thick line to foreground elements, to areas I want to highlight, and in this case a key line around the whole illustration.
In video three I add detail, texture and any odd little bits of grit and noodling I feel it needs. All with a very fine 0.03 pen.
Lastly I add in some clouds and birds in the distance. I love drawing clouds. I actually added a couple more bits of detail after this – drawing in some barnacles and seaweed on the submerged bits of the drawing.
Here’s the final image…
Continuing my doodles of odd little medieval/Tudor/olde/fantasy streets and buildings.
Drawn in pencil, inked with a Copic Multiliner and Staedtler Pigment Liners, coloured with Copic Markers. All in a Moleskine sketchbook. I do love Moleskins but I wish the paper was a little whiter.
There is something magical about creating a place or a world that previously only existed inside your own head. It’s impossible to draw (at least it is for me) an imaginary landscape without wondering about the people who inhabit it, or the history of it, or the flora and fauna that fill it.
Some of my landscapes are very much rooted in the real world, the lake district is never far from the tip of my pen, while some have only the loosest foundations here on earth.
Only one of my landscapes exists as is, Slater’s Bridge in Little Langdale in the Lake District. I really must get back there with a sketchbook. It’s an amazingly beautiful place.
People are very rare in my drawings, partly because I’m pretty terrible at drawing them, but partly because I want to be the person in the picture. I don’t want to share these places with anyone else. Extreme escapism for me would be stepping into one of my illustrations and exploring what’s beyond the edge of the page.
Or the Tin Man according to the film. In the books, the Tin Woodman was originally a human called Nick Chopper. He was turned to tin by the Wicked Witch of the East to stop him from marrying his true love.
This is my take on the character from the 1939 film, I wanted to keep the face the same as Jack Haley’s, but give the rest a bit of a twist.