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Red Scorpion Endpaper step-by-step

A look inside the art by Stan Sakai

Red Scorpion Endpaper step-by-step

Postby Steve Hubbell » Wed Jan 15, 2014 11:05 +0000

Stan Sakai wrote:59 minutes ago
George Takei turned in his introduction to Usagi Yojimbo Book 28: Red Scorpion--early even. This was my incentive to finish up the endpaper for the hardcover edition. The image area is 12x20 inches on 17x22 2-ply cold press Strathmore bristol board.

Here is a step-by-step of it.


Start with roughly pencilling the figures using basic shapes.


Tighten up the pencils, and make sure about the vanishing point for the perspective. I use a French curve to pencil the swords.
Mary Schneider wrote:Perspective is the hardest thing about drawing for me.
Stan Sakai wrote:In past years I had been a thesis advisor to Master students. One thing I always stress is perspective. Even at that level there is a tendency to fake it, and you just can't.

Is there a trick to it? Or is it just something you must learn by repetition and practice?
Stan Sakai wrote:All you have to do is take the time to determine vanishing points. In this case, there are two, so it is a two-point perspective. A lot of young artists are impatient, and just do not take the time to pencil in the perspective lines.

I see. That's really fascinating. I haven't had much in the way of formal instruction so I'm learning more just by studying what you're doing.

Are the perspective lines those very faint pencil marks that run along the planes formed by the top of the platform in the upper part of the picture, and come to a point in the "front" corner? If that makes sense.
Stan Sakai wrote:Yes, those are perspective line. They all converge to a single point, called the vanishing point. There are also lines going the other way, off the right side. They converge on another vanishing point, that is off the paper. I use a straight-edge, usually a yard stick or meter stick, to make sure the perspectives are accurate.

Ok... Going out on a limb because I have no idea what I'm talking about lol But I'm guessing the second vanishing point is created by the angle of the triangle that the hoard forms coming at Usagi? He would be at the large side, with the point going off to the left?

I can see how a straight edge and penciling in the lines would help keep the proportions correct. I struggle with keeping the overall composition in order while working on the details.
Stan Sakai wrote:I used the perspective lines just for the platform, drum, and drum stand. I achieved depth with the figures by using a thinner line, smaller sizes, and overlapping.

Ooh ok, I can see that now, by looking at the finished picture. So, it helps to keep the object in proper proportion? I know that smaller=further away and overlapping and so on, I got that far in classes. But I struggle with these more advanced concepts, and proportion.

Thanks for taking the time to explain! It really does help. I doubt I'll ever be a "serious" artist, simply because of lack of talent, and more importantly, I think, lack of dedication to put the necessary time in, but I'm fascinated and enjoy learning, even if it's "just" a hobby.
Stan Sakai wrote:My pleasure anytime, Mary.


Dinner break! Scampi on saffron rice.


First stage inking with a Koh-i-noor ArtPen with Badger Black Opaque ink (old formula).
Kristin A Hogan wrote:I have never thought to map out parallel lines for rain before. Thanks for sharing!


Erase pencils.


Add blacks with a brush, and details, and I'm finished.

I had more water dripping off Usagi's chin in earlier stages but they looked unpleasant after awhile, so eliminated most of it.

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Steve Hubbell
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