Todd Nauck Live Art Broadcast 024: Black Cat

Todd Nauck Live Art Broadcast 024: Black Cat



oh hey how's it going hey there Todd Knapp welcome to my livestream so so glad to be hanging out with y'all today thanks for tuning in I appreciate that everyone and yeah so today I am doing an illustration on this black cat issue one blank variant it's an actual black cat issue one comic on the inside but they make these special blank variants yeah I've seen these you've seen these online I do – lots of Commission's and illustrations on these as they're we look at that sweet J Scott Campbell cover huh so marble and other publishers put out these blank variants a lot of people ask where do you get them you can get them at your local comic shop and sometimes you can find them on ebay just search whatever character you're interested / or that plus blank variant see what's available so but you can get these at comic shops maybe around 5 bucks if there are current printing look when they're out of print then the price goes up because they're more they're harder to find hearted again so I'm going to do an illustration we're gonna do a full illustration here we're going to do pencils we're gonna do inks and we probably will have time to do colors so a lot of my focus will go into sharing tips and tricks I might not be able to respond to as many questions as and comments as I would like I'll try to if I can catch one while I'm drawing but a lot of focus goes into the actual drawing and sharing my info with you so I appreciate your understanding and patience what else died to say of this sketch cover will be so do stay tuned to the end of the broadcast if you're able to live stream that can both jibba jabba let's look it's doing well pull back just a little bit more I'm getting other white going there okay so we've got a lot of space here to work with it's nice that the cut of the logo doesn't eat up too much of the illustration space so let's start with my trusty rusty Pentel twister race mechanical pencil with 0.5 HB lead and we'll just start to start to rough in those basic shapes so I'm gonna see if I can get her in a bit of a crouching pose so the head those would be her shoulders her spine so that's her kind of her rib cage upper torso see here come down to this hip the light comes up to the knee a lot of foreshortening going on here I want a more dynamic sort of pose working that foreshortening can really help create that dynamic look I'm going to try to get a full figure black cat on this cover if I can so so we're bringing that was that her or left leg forward have her crouched on top of a building here so I'm going to kind of establish where that ledge is now I get this right leg in here put a little more angle to that shoulder really working the angles when you can cut the angles in different directions it's going to create some nice movement in your figure so this shoulder comes down that means this shoulder is going up a little bit and that will affect the angle of her chest Haggai keep that in mind this is where some study of life drawing of anatomy can can come in handy so we're just getting really sketchy just getting everything kind of blocked in here initially I do pretty sketchy pencils for these types of illustrations I don't pencil too tightly because I want to spend that energy that tight energy onto the inks so bring her arm down upper arm to forearm and angle the hand and the fingers thumb index middle ring and that pinky finger guy's hidden there a little bit not at this stage I can always adjust the thigh there I kind of inner thigh muscle I can just sketch over arm over leg because it doesn't really matter because I'm just breaking down the shapes I'm building the foundation that I will then build the detail on top of so so it's okay for things to overlap it's okay for things to get sketchy because this is all foundational work calf muscle me chin down to the ankle she has that fringe hanging off of her calves here off the side got some fringe going on here I love that fringe so much fun to play with look at that sweeping motion create some movement really fun detail there readjusting that hip where's my eraser there it is my click eraser little click eraser I got off of jetpens.com don't know the specific brand I guess it's a knock and Enoch Enoch from MIT sue Mitsubishi Mitsubishi cars looks like the Mitsubishi logo look but the Enoch medium is what I'm using here for a click eraser like I said got it jetpens.com some nice roundedness of the figure the thighs connecting to the hips see me see she's got that fringe on her arm as well I'd be very careful how these two fringes overlap I don't want to create any tangent so that I don't want lines going in the same direction to where they line up and meet up I want the angles to be different so that they don't confuse with each other so I'm not able to respond to too many questions gang you just tuned in a lot of my focus is going here on here in the instructional sort of stage I hope to address some questions and comments as I go but right now really want to break down this information for y'all for your benefit for your illustrations hopefully this is a help for you as you draw the things you like to draw especially drawing female characters I know a lot of people have inquired about that hopefully this will help you out a little bit and let's see okay I get this head face and other arm figured out so I'm gonna have her kind of looking up a little bit so that kind of changes the perspective of the jaw line a little bit so I'm gonna break down the the facial lines as you'll see me doing my videos the eye line nose line mouth line eye line is halfway from the top of the head to the chin roughly nose line is halfway from the eye line to the chin and then mouth lines halfway from the nose to the chin camping out where the ears will be start to put in the almond-shaped eyes the width between the two eyes is about the size of one eye roughly generally speaking you can always make it wider or more narrow set eyes as you desire or depending on the person you are drawing but kind of the initial rule of thumb is about one eye width in between the two eyes so even though I'm drawing a third eye that's just a guideline to help me put my eyes where I want them to be I drew from the middle of the eyes I bring down here that helps me kind of figure out how wide to make the mouth this is the smaller joint so I'm not going to put a lot of detail in the nose so we have one nostril and the other nostril and that's plenty of detail for the nose for a female character of this sort at this size I put a little circle there kind of help lock in where that chin is figure out that space between the nose and the upper lip that that trough between our nose and lip I'm gonna give her a bit of a smile a bit of a sneaky smirk you know she's shelton has that kind of knowing smile she's steaming something now hairline tends to be about roughly from the top of the head to the halfway from the top of the head to the eye line but her head's kind of facing up just a little bit so that hairline moves up a little bit so I kind of figure out where the hairline is gonna be and I'm to build my hair shapes from that but before I get to that I just want to kind of figure out a little bit more of the rest of her body I get her neck and shoulders clavicle then where that neck meets like a Tavi let's get this other shoulder and arm in here and her collar a big fuzzy collar so right now these scribbles are all notes to me on how I'm going to approach the illustration have I seen far from home yet yes I have loved it really had fun with that movie really enjoyable hope everyone's gotten a chance to see it let's try to hold back on spoilers just in case people haven't seen it yet all right then I need to get this other arm added here so we're going to bring that out kind of flare it out there a little bit so I kind of have an idea of how long to make that upper arm based on the length of her body let's give her it's really for shorten that forearm there give her kind of a flared out cat claw sort of hand you know a lot of people say hands are challenging challenging to draw and they absolutely are but I love drawing hands ever since I was a kid I love drawing hands I looked how expressive they could be I loved I can make characters hold things and I didn't always draw hands well but especially as a kid but I did the best I could and continue to learn and level up as I go and there's still new things I can always learn or new approaches new takes don't give up on drawing hands don't avoid it hands are a great way to express your characters thoughts feelings our emotions not unlike their facial expressions okay and then we're gonna get that fringe hanging down here back to the face here see if we can start putting some hair so starting from that center of her hair I'm gonna pull up and around I'm gonna start creating these big chunks of of shape because she has fairly big hair she's got lots of flowing gorgeous white locks so I'm gonna just start pulling these big chunky shapes and then kind of adding striations adding adding the some individual hairs not every individual hair at least that's not my take on drawing hair might be yours and that's okay you know if you can make it work you do you but I like to break it into chunks and use the design element of the hair as a graphic shape and the further we get towards the back of the hair the hair that flows behind the back the more concentrated the lines to help show depth but stuff that's more up here towards the top in the front where the light would be hitting that's going to gonna have fewer lines so the kind of hair kind of overlaps that color and then flows back here to the back and then a little bit back here behind her so she's really starting to come together here just a few more little details here and then or just making sure I got my shapes the way I want them just want to kind of double-check my work before I start committing to tighter details so if there's anything I need to change I can do that this is kind of gradual tightening up the details tighten up gradually bit by bit as I start to feel that's where I want things that's where that's the direction I want ahead that's what I want to commit to those are lines I want to commit to and it's about practicing to the point where we can make those commitments and feel comfortable with the choices we are making and if things don't work out that's okay it's okay we're gonna learn from our mistakes that's just being human you know so it's okay if things don't work out they can if you feel frustrated that's totally totally understandable totally cool because that's a natural feeling as well it's just what are we gonna do with that what are we gonna do with those feelings those emotions that frustration my thing is don't let it stop you don't let it disturb you or discourage you from pursuing your art because then you stand an even lesser chance of leveling up your skills if you stop you can't move a car that's not in motion or you can't drive a car that's not in motion I could should say I guess you can move a car that's not in motion – do you use a tow truck but that's not the analogy I'm going for here it's we want to keep trying keep moving and keep keep try to keep moving forward each sketch is a step in our journey each scribble is a step on our art journey and most of hopefully most of our steps are forward but it's okay the step goes backward it's okay because as long as able to keep steps going forward then that's gonna get you to hopefully the progress you want and everyone moves at a different pace so keep that in mind as well your pace is yours and that's okay just like my pace is mine and Jim Lee's paces Jim Lee's and Jack Kirby's pace was Jack Kirby's no matter who we are we all have our own pace so I now want to add some more detail here to her face really get these eyes figured out so I switched here to my boonie kuru toga 0.3 HB lead mechanical pencil to bring a little more detail into these eyes here just to make sure that when I go to inks they are they are the way I want them to be for me eyes are one of the most important features because I think we I know I personally really connect with the characters eyes start to work in her mask that kind of domino mask sort of shape and I did a variant cover for black cat number one here hopefully I'll had a chance to see it it they're selling it at as at Walmart Walmart is selling these three packs of Marvel Comics that's the only way to well not the only way I guess you could find it on eBay but if you want to buy it in store you have to go to Walmart and it's a one in 25 shipment so they're very they're pretty rare so if you're able to find one of these you're finding a more difficult black can't variate if you find my variant it's a black cat running on the rooftops with a spider-man following behind her and yeah I found out during San Diego comic-con but that that my cover is one of the harder ones to find which is making it a pricier collector comic because of all the black cat covers I guess it's one of the more difficult ones to track down because Walmart only gets 1 or 1 out of every 25 so that ratio really makes it a little bit more a little bit more difficult to find I've been seeing at selling on eBay for about $15 the black cat variant I drew that ended up at Walmart three packs all right so there's my initial pencils let's just kind of tighten up some of these backgrounds here a little bit so we're gonna tighten up the ledge she's working standing on I'm gonna switch back to my pen tell twist erase pencil using my triangle it's just one of my drafting tools drafting tools are a very important tool for a comic creator t-squares triangles so I'm gonna create this ledge I've done lots of ledges in my time as a comic book reader so a lot of these I just kind of make up in my head just based on on the architecture I've looked at and recreated and imagined in my mind so just the different kind of ledges there and maybe later on let's go ahead and rough it in maybe we'll throw in a little bit of a some skyscrapers here in the background kind of create some distance and a graphic element as well see just getting another skyscraper built in right over here let's just put those lines in like that so this is just kind of a roughing it in just roughing in the basic shapes I'll come in with tighter lines a little bit later on but they're in the distance so I don't need to get super detailed we will be taking this to Copic color for those of you that just tuned in I'm just gonna use my Copic markers to color this see let's put some something like kind of a bit of a little air-conditioning unit or a chunk of some sort of outcropping of of architecture here on top of the roof that she's on maybe some ventilation pipes so a little bit maybe like it's like the top of a skylight over here so Oh study architecture study the tops of buildings like you can Google Image Search like New York buildings and just study them and see what are some commonalities and what you can kind of create based off of what you see so that's that works there for now I think we're good to move into inks we're going but just things as we go for the black of her costume I'm gonna ink in different colored micron tents if you use black for the black suit I'm gonna use brown for her skin tone and for the line art and maybe a little pink for her lips I think I'm going to use blue for the white of her hair and for the white of her fur line cover and and arm and leg fringe just because I'll be using a lot of blues and grays in creating the colors for her there so I'm just grabbing my appropriately colored microns got my blue microns here I always have my black microns handy because that's what I use to ink with I'm gonna grab some Browns ca0 five and a zero or double zero five and a zero one should suffice I have a Syrah wine yeah so I use these Browns and tell by the end of the thing there and then gonna need a little bit of pink so this zero one pink would be good I'll probably use brown for the the building she's on then blue for the background behind there maybe a darker blue maybe I'll use this dark blue for the skyscrapers behind her so this is a little bag of colored microns that I use keeps them organized and handy for me so right now I'm going to start with our hair because it's in the foremost foreground so I'm going to start with the zero three and start dropping in lines her hair looks pretty oh thank you thank you that was what I was shooting for us and some healthy lustrous locks that Pantene pro-v healthy hair so right now I probably from this angle from this lighting the blue looks a bit black but when but when it's done and you go look at the photo I'll post on my social media you'll see you can really tell the difference for the blue this is kind of kind of gives it a bit of a of an animated look like she were an animated cartoon so it's it's fun to kind of work in these with colored line art just for a fun effect so I'm gonna now ride those shapes to create the the body of her hair the the pull of the hair the flow of the hair so now we're into stage two the inking stage stage 3 will be the Copic color Copic marker color stage so I'm making some of the initial chunks thicker just kind of give an anchor to her and then some of the inner lines a little little thinner so these lines don't overpower the contour lines and a lot of this has come with trial and error study and practice to develop the confidence of dropping in lines to make those curves so it's continued practice continued continued practice don't give up practicing people every illustration is essentially practice because you're you're having an experience you're learning from your experience whether you're doing it for as an exercise drill for if you're doing it to actually create an illustration a commission over your professional con book work so I'm doing these quick little short lines here to create a different texture buzz for her for the color keeping in mind the shape of the the color and how it would arc and pull around her shoulders and down to her chest keeping that in mind so that it gives form and shape and volume these are the things I want to try to convey so she doesn't turn out flat so it's not a flat just a flat illustration but it looks like she's occupying the space the reality so more dense lines there as we go further and further back behind the hair really helps create that sense of depth that's what I'm shooting for at that moment so just pulling these lines around letting the letting the flow kind of common I'm keeping in mind design elements how concentrated do I make lines how much big open space do I use so these are things I'm going to keep in mind is the design element as well as the well what I'm hoping will be translate as give the illusion of a kind of a naturalness a believability to her hair despite how stylized my style might be which is kind of a hybrid of cartoony meets realistic on that spectrum between cartoony and realistic I try to try to kind of go for that middle zone that kind of walks the line between the two because those are the types of comic-book styles that really inspired me and influenced me as a as a kid and young artists I'm still oftentimes some of the styles I'll gravitate towards even today because I'm still a kid at heart still a comic book fan as well as a comic book professional so let's get the other side of her color here again keeping in mind I want to convey that shape the shape of the the volume the shape of the the collar and the volume of that fuzz going over her shoulder over her collarbone then down towards her chest I want that fuzzy feeling when I create that fuzzy texture will CH also be more defined when I move into the colors when we break out the markers here for Phase three okay I'm gonna put the blue pen aside for the moment as I'm going to now move into inking her face and the black parts of her costume so I'll be switching from color to color so I'm go switch to the zero one brown micron and this will be the line art for her face so you start to see here that the colors separating as I start to put in these the line art for her face this brown which will complement the the the choice of flesh tone colors all use for her some lighter skin flesh tone shades I use this brown on the the nostrils here see double check we have a little bit of cleavage here so I'm gonna just use a little bit of brown right there make sure the the shape of her chest is just right just double-checking my math here double-check your mouth before you commit to inks make sure you got things where you wanted to be so that when you commit to the inks your you stand a better chance of achieving the desired outcome so she has this whole black collar which i think is a great design I really like this design of her black collar so it's a bit this is a bit more of the the more current black cat costume not quite the original classic from the 1970s and 80s but not the one she's had I guess she's had so many different looks but we're just gonna do one line there and that conveys the the cleavage a respectable amount of cleavage I hope so now let's move into details on her face we'll push in the fish the camera in just a little bit more so you can see more of the details of the face well they can remember to keep everything on screen so I'm going to use the black micron now for the eye lashes I'm going to use the double zero five my one of my finer point pigma micron it's probably the thinnest micron that they make to ensure I get that nice crisp clean line without things getting muddied or clumpy I don't want eyelashes that clump I've seen the commercials Maybelline's clump free mascara that's the same thing I went for for Felicia here Felicia is her first name do y'all know Felicia's last name what does Felicia's last name see see who might be up to speed on their spidey character supporting character not knowledge Hardy that's correct har dy technically but yes we'll assume that you bumped the eye instead of the Y Felicia Hardy here's another piece of Spidey trivia for you which costume did Felicia make first spider-man in the 1980s the 1980 comic book series which costume did she make for Spidey and why that's right the black suit she made the black costume she didn't make the original black costume she made a cloth black costume for him after they realized that the black costume was an alien symbiote trying to graft itself trying to bond with Peter Parker so he had to get rid of it but it was still a great design so hope she made him a cloth one that he wore through the late 80s until venom showed up on the scene so still using this double zero five and inking in her mask because this is because this is such a you know this is a kind of a smaller figure compared to how large I can draw things I want this nice fine detail line to ensure again that things aren't looking muddy or clumpy I want to have that control as much as possible with the line and how to how to translate the shapes and that I use the zero eight right now I could get away with it but I run the risk of having I'm not eight wouldn't be able to get as fine of a point like right there where the points meet on okay so let's see gonna switch back to the the brown micron 2:05 I want to put the top of her eyelid in here this would be her skin so I want that the top of the eyelid to be brown since that's why I've established here with her jawline and now I'm gonna use the double zero five blue micron for her eyes I'm gonna double check my math here a little highlight iris highlight iris make sure she's looking the right direction with both eyes don't want her to look cross-eyed so now with the double zero five come in here and lightly get the iris inked in there we go pull that up a little closer to the camera as you can see there let's go ahead and take care of her lips while we're here while we're still in face zone my 0-1 and pink micron get the her sneaky knowing smile inked in here just a small smile nothing too big she's not doing a big cheese here using 2:05 just pulling a little bit of bill smile line of the cheek there a little bit of a little separation from bangla to the chin there just a real subtle line so that pretty much takes care of her face for now so we're gonna be using a lot of black for her bodysuit as well as then blue for the fringe on her costume thoughts on the marble face for announcements I'm excited I'm excited for all these movies I'll go see them all very excited which movie are y'all excited most to see of the phase 4 announcements for those of you that are aware or saw the San Diego comic-con Marvel phase 4 announcement post so now I'm going to I'm inking her collar keeping in mind the neck how it pulls down to the clavicle that shoulder bone it's called a clavicle and dropping in the blacks appropriately for for yep yep I'm looking for that forward to that tooth or love and thunder do I work for both DC and Marvel I have worked for both DC and Marvel I currently work just for Marvel right now I still have friends at DC that was some editors at DC over the San Diego comic-con weekend as well as Marvel editors so as we look towards upcoming projects so as soon as I'm allowed to say what I'm working on next I'll let you all know but currently if you're watching this here in the summer of 2019 make sure you picked up my amazing spider-man 25 I did a story in there as well as the carnage sized venom Arcana ties to Mary Jane variant so I meant to say I drew a variant of Mary Jane with a cart carnage symbiote attached to her so you can pick up that variant cover and I did a story on the inside starring spider-man Jay jonah Jameson and Doctor Strange written by my good pal Zeb wells of Robot Chicken Fame any award-winning Robot Chicken writer Zeb Welles coming back to the world of comics and he and I got to team up again so much fun and hopefully you're reading cosmic ghostwriter destroys Marvel history I drew all the even numbers of that six-issue miniseries issues two for and issue six comes out here in August so make sure you get that it's a really fun story written by Paul Scheer you might have seen Paul Scheer and on all sorts of different TV shows like fresh off the boat and veep and Silicon Valley as well as so many others and his writing buddy Nick Giovannetti I worked with them on spider-man Deadpool and now I'm back with them on cosmic and Ghost Rider destroys Marvel history it's a special six issue many really fun really weird fun story all right so that takes care of her collar now let's start to work on other parts of her of her suit now I guess we're starting to work on the suit itself so I'm trying to be as as thoughtful and cautious as I can be and the choices I'm making on how everything fits together double-checking my math if I need to flesh something out make sure everything fits together right like ribcage to abdomen to hips and then how the cos you might wrinkle or or pull the black shapes I want to create in here I will double check that to make sure I get the desired outcome so it's always okay to double check your math you'll be glad you did in the long run double-check that math when I say math it's the structure of the illustration that I'm working on have I put everything in where it needs to be to the best of my ability so you can do the same to the best of your ability and hopefully that ability continues to grow and evolve and level up so I'm just making sure I got the the black shapes that kind of reflective leathery pleather II sort of bodysuit texture is coming across the way tie wood once so I'm just double-checking that so I'm using the zero 8 micron for this part here so I can get thick and thin lines with that like these these wrinkles here pretty thin lines but the contours I want a bit thicker to anchor her just like with the hair anchor her in the in the environment she's in adjusting or keeping in mind light source and lighting and creating the the variation of line weight as necessary so those sprinkles here at the joints always a fun little detail looks like a camera line to focus on my fingers more so than the art got to be cautious on how I hold the board to adjust it as I turn it right and left so I appreciate everyone tuning in if you just tuned in a lot of my attention is going into the structure and tips on how I'm drawing what I'm doing day or night setting this will be a night setting more than likely this will be a nighttime setting just because that's when she often does her work is at night but I might change my mind once we get to the Copic color stage for right now I'm shooting for nighttime so now I'm getting these fingers inked in now this thumb over here the knuckles now to add some black to her the backs of her hand they're keeping in mind the striations of the of the hand there but I don't want to do too much I don't want to make it look too too overly done just add the black chunks to her bodysuit here for this arm now I kind of explained how I'm the choices I've made here for how I of what I'm doing for her arm so I'm assuming the light is kind of coming from above her for the most part maybe it's the moon maybe it's reflection from the building's so I'm putting the darker side closer to her body and on the outer part is gonna be a thinner dark line so I have a reflected light and then the kind of the gray of her of her or like the light source the gray of her body sook the black moving into gray and then maybe this here is a reflected sort of light roughly and then keeping in mind the the shapes of the muscles I want to be careful not to make her look over overly muscular cuz she's not an overly muscular character though she is quite fit to do what she does she's not like she-hulk sized she's not a she-hulk sized character or or titania or Thundra so we want her strong but lean very lean now this part I'll fill in blacks up a little X there to remind myself to fill that in black later on so let's see let's work on this torso down to that one leg some pulling down from the side of her body to this hip which then leads to the foreshortening of this one leg so the thigh is actually coming towards us for shortening is a great tool in drawing comics to create that dynamic look takes a lot of study a lot of practice a lot a lot of trial and error so keep trying your two to incorporate your for shortening it will be difficult to learn it will be they'll be frustrating at times trying to figure out how to get it right even once you go pro you can still encounter a an illustration where you're trying to get that an angle where you're trying to get that for shortening of an arm or a leg or a torso just right and you'll spend hours trying to get it just right we all can end up in that situation so but that's just the nature of the business to try to do something you know cool or new or different but the more you practice it the better chance you have at becoming confident in your foreshortening skills that's why I say practice builds confidence I don't like saying practice makes perfect I think that's that perfection is an unrealistic expectation we put on ourselves which leads us to frustration and maybe sometimes hopelessness when really what we're doing is we're practicing our skills so that we can become confident in our skills and the choices we make so practice builds that confidence that knowledge that you can then utilize in your illustrations or whatever it is you're doing even if you don't draw whatever it is you're doing you got to practice whether it be sports or or whatever it is writing of any type of thing whether you're writing fiction or I don't know technical instruction manuals whatever it is it's practice and learning and that is the on growing confidence let the confidence grow and don't let yourself become discouraged by not reaching a level of perfection that might be inappropriate expectation I know that when I started stopped worrying about perfection and just want to do the best job I could do have as much fun as I could have and learn whatever I could learn I thought I was coming coming forward with my skills in a in a more productive way okay so now we're gonna work on the inside here of her torso so with the chest here the black right there keeping in mind the texture of the bodysuit putting it really dark in the center and then lighter portions on the outside much like I did with the arm same thing with her breasts and her abdomen and we're gonna have some wrinkles here cuz the way she's bent it's gonna kind of wrinkle at the abdomen where she's bending a little bit creates some eye candy details for the viewer kind of creates a little believe a little believability to her costume they're on the hip a little nice good chunk of black let's see if these parts will all be filled in black eventually this is called spotting a black shows the spots that need to be filled in black pencils will do this for their anchors when they penciling it and says sitting there and shading it in with pencil they'll just a little X to let their anchor now please fill this spot in black when you go into the inks okay let's let's go ahead and build this part of her her thigh gonna have a heavier line down here because it's further away from the light so it's gonna be technically more of a shadow shadowed part of her body so it might be a bit of a thicker line it doesn't have to be abnormally thick we're gonna have a little bit of a build in this the black chunk of her bodysuit here and the pull of the thighs the musculature let's make sure I've done the math there do it's doing my math it's best I can so similarly to here how we have the thicker black with a thinner line here we're having a thicker black chunk and a thinner line there on top because this part of her thigh is getting less light than the upper part of her thigh I like to keep a thin little highlight there for kind of that reflective light because she's in a bit of a shiny cat suit fill these spots in black eventually now I have some fringe here that overlaps the black so I should probably switch over to the blue and see what I can do there so I'm just gonna put two black aside grab the point or the zero three blue micron and get this up that's in the foreground squared away before I continue with a block my favorite Disney villain ah golly do I have a favorite Disney villain that's a really great question huh I don't know if I have a favorite Disney villain huh I guess maybe Ursula from Little Mermaid might be one or Jafar from Aladdin or scar from Lion King those are all great ones let's go ahead and since we have the blue out let's go ahead and take care of the leg fringe over here so I can finish off this side of her thigh because this leg fringe is overlapping just double-checking my math there and the fringe is kind of handled very similarly to the hair it's kind of these longer hairs that kind of pull and flow down a little thicker on the contours the outer line there but I'm not trying to do a big thick fat outline at least that's not my style and approach but I do have some thicker outline thicker lines there while the inner lines are a bit thinner to keep it from getting too muddied on the inside there your favorite villain is Maleficent from Sleeping Beauty the animated movie not the live-action gotcha right on yeah she's a great villain as well why blue pen I wanted to give this a kind of an animated look so each section is inked with a color a line art color that would reflect the choice made in when I do the Copic marker color so any for her anything white her white hair the white fluffy color the white fringe that's all going to be shades of light blue and gray and light gray so I'm using blue to kind of create that line art shapes for that her bodysuit will be black in shades of neutral gray so I used black lines and for her skin tone I'll be using light shades of the east spectrum of Copic markers so used Brown and then pink line art for her lips so I'm using different colored line art or multiliners to create that animated style look so let's not we got this I appreciate you tuning in and thanks for all the comments and questions everyone if you just tuned in a lot of my focus is going into the sharing my instruction and and reasoning as to why I'm doing what I'm doing with my line art or what will be later on Copic color so it's difficult for me to catch a lot of the questions and comments I do thank you for posting them I often try to go back and and see what everyone said after the broadcast but hopefully it'll be time to do a Q&A here at the end of the broadcast we're really getting detailed with this one we have a full figure and backgrounds going from pencils growing starting from scratch and going to color so this is gonna be a long live stream this will be a long video on my channel but I figured hey we got the Saturday afternoon let's have fun so let's finish off this flag here and then we'll go tackle that arm a little later on how do you how'd it tips for making a 2d comic style art how do you keep your artwork from looking flat appreciate you tuning in I did kind of mention this earlier when I was working on this leg for shortening look into for shortening that's gonna move your character across the page that's going to help create depth the illusion of depth and moving body parts towards the viewer or away from the viewer it's going to give you this is going to be one aspect of creating that three-dimensional look so it doesn't quite look so static and just always they're always just standing there or just posing with every every body part the same on the same plane so study foreshortening study in the mirror study photographs photographs sometimes I'll make the pose and I'll ask my wife to snap a picture of me in that pose so that I can see how do the shapes change because the shapes change of each body part when you when you move into the foreshortening if you look at yourself in the mirror and then raise your hand out in front of you whether it be the bathroom mirror or maybe a full-length mirror you have access to you'll notice that the arm is now a completely different shape than if it's just sitting right in toast you know just down right next to you you know if it's just by your side you can see the full length of the arm but then when you raise the arm and out towards you towards the mirror you've now created a completely different shape it's still a human arm this is now a completely different shape and now how do you translate those shapes into dimensional to convey a three-dimensional form so it's this is why it's constants that be in constant practice and we're constantly working at it because we're trying to up we often show as as professionals we try not to do the same pose over and over and over again we might accidentally do the same pose because when you draw tons of spider-man comics it gets challenging to find a new pose to put them in swinging though I try to as best I can and at least try to vary it so there might be similarities between certain poses but never not I shouldn't say never because never is a bit hyper hyperbolic but I try not to do the exact same pose intentionally at least I try to intentionally do the same pose every time of any character I'm drawing I try to vary it just a little bit at the very least but to do that take study and practice and and how can I make this look a little different so right now I'm doing the math here of making sure I've filled in or I've got that black shape the way I want it light coming from here so thinner line here thicker chunk of black over here and this will be a thick chunk of black here on her me so again constantly doing the math so much to think about when we're we were drawing a lot of it week we learnt where it becomes second nature and is sometimes autopilot and then other times we really have to stay present keep in mind what is it we're drawing what is our end goal what is the thing we're working on right now like I am focusing on her calf muscle and this big chunk of black shadow shape on her thigh or not her thigh her her shin and her the back of her leg I'm keeping in mind that shape and how will that shape and those lines coexist with the front part of her shin and what is the overall shape how did these two lines and the shapes created here connect to make the overall shape of her leg these are the kind of thoughts we deal with on a daily basis with just about every illustration that we do so it's really a lot of a lot of mental dexterity a lot of mental stamina to try to get it as as accurate as we desire that's why if you want to do comics for a living you've got to be practiced and have that mental and physical and and just kind of that intestinal that gut strength and stamina because drawing comics isn't just about doing cool pictures and it isn't only just about storytelling it's also about problem solving design and in creating something hopefully new or slightly new and different or slightly different than what you have done before or your colleagues have done before to some degree but a lot of it is just that that that working hard and thinking about what it is we are working on and keeping these things in mind and you do it day after day after day but it's fun I have fun with this this I like doing puzzles and this is like a big puzzle for me because I came from nothing and created this this figure in an environment and that is fun for me that is that is this is play this is playtime for me this is my video game right here this is what I I have fun doing so so that's that's my approach to it is problem-solving and puzzle building world building so now we're going to tackle this hand here and there's gonna be a lot of again foreshortening because her hand is out but her fingers are curled in a cat claw sort of pose so I'm getting that initial front part of the finger digit and I have to do that for each finger so this is where her fingernail would be but it arcs back and then it arcs dent Mountain which overlaps this part so we do tink this part and then we have this part and now I'm inking this part so one two three one two three and I'll do that across the entire hand and then I'll have to add the black chunks in fact a lot of the pencil line art there had kind of been smudged off from the palm of my hand from working on this part so I'm doing a bit of a risky move here going off based off the ghost image of the pencils that have been left fact I should probably not risk it too far and let's see let's get this 0-3 micron and just double-check my my math in fact I had that pinky going down a bit too far from the structure of her hand and we have the palm those meaty parts of her palm and then her thumb coming towards us here so take the time to double check your math especially when it doesn't look clear anymore just to make sure you're catching any mistake that you might regret making before you commit it commit to it Withings get that from getting a bit of a point to her fingertips because the gloves kind of have a bit of a cat's claw to them still using the zero one here for the moment I'm about to switch over to a thicker like let's do that right now switch over to the black zero eight micron just to maintain the consistency of the line weight they established on the rest of her body just the zero eight would have been too thick to get the detail lines there on her fingers I wanted to keep them crisp and clean because I can always go in and make those lines a little thicker and see here we have foreshortening her forearm is now coming towards us bringing the hand towards us so the upper arm down the forearm is coming towards us I could add a little more line up add a little more thickness is the word I wanted a little more thickness to the lineart here to make that hand pop a little further into the foreground and now to continue that same lighting on her costume thinner chunk of black on the arm closer to the sky and then a thicker chunk of black on the part further away but still leaving that that open area right there for kind of a reflected light that I'll utilize more when we get to the Cutler stage which were not far away from just have a few more bits of inks here on on on black cap and then then we'll throw in some lines for the backgrounds as well so we're getting up pretty much a full scene here you're getting to see how I draw a full figure pencils and inks and colors you get to see foreshortening you get to see hair face figure work translating a black costume and lighting a black costume which parts do I leave open for color which parts do I fill in black the shapes I'm creating and we're good doing this all from scratch to finish product product here today so I appreciate you all tuning in if you can't stick around for the whole livestream please do come back by and watch it your convenience if all goes well this should be uploaded or saved here to my youtube channel and if you're new to my youtube channel if you just discovered me today and part of me please smash that like art not just the like button but the subscription button please subscribe so you don't miss out on future art live streams as well as videos I can and will continue to upload okay it's not I want to get a little smaller detail here so I'm going back to the zero one was using the zero eight now back to the zero one there we go now we're going to go back to the blue for the fringe on this left arm and on her right leg so I double check my flow here we're getting foreshortening so I want to have shorter hair up front that leads to longer hair or yeah I guess it's more of like a hair texture more so than the fuzz of her collar so using this blue again because we'll be translating this white fur with shades of light blue and gray when we get to the marker stage I'll be using Copic colors in this video but I will be trying some new brands of coat of of of colored markers not necessarily kopecks so I've encountered some new brands of marker which I will be demonstrating in future videos hopefully in the next week or two so stay tuned for that you know a lot of people say kopecks are a bit expensive well I discovered some been made of introduced I should say I've been introduced to some more affordable markers that I'm excited to try out so please please join me for that those will be coming soon but right now this will be a Copic video i know i've been using Copic markers for years but you know sometimes especially with marker technology growing as it is you can encounter new stuff and try new stuff and see see what might work so i want to share that with you all here in it upcoming videos as soon as i can just have to get a few things worked out and then then i will be doing those in either separate videos or live streams but today is Copic marker day but all the skills will apply all the tips and tricks will apply despite which brand if marker you might use now at least that has a blendable ink like Copic marker not all markers have blendable ink so you can't quite get the same trick but you can get some of the some of the theory at the very least all right in this tent finishes off her her fringe on that leg maybe just a few more short hairs like that okay so we pretty much have felicia inked aside from spotting the blacks we will take care of that momentarily it's just not time for that just yet let's right now ink the the backgrounds so I think what I'm gonna do is I'm gonna use some I gotta use brown rubbing eighties black you know I'm gonna use black because I'm not quite which quite sure which colors I will utilize for this building and at least for this initial ledge she's on it I think Brown would be the wrong color we're gonna use black so back to my triangle with beveled edge it's like an ink nice clean straight lines without the ink seeping up underneath the the plastic here beveled edge means it has a little Ridge that separates it from the paper so that as you ink that ink doesn't pull underneath the orange there so a big black line there to establish the main shape and I'm coming in with some thinner lines and some thicker lines to convey shadow as I build the ledge she is perched upon nice thin line there so see how I vary those lines just makes it kind of fun for the viewer it's a subtle bit of detail and eye candy that was sometimes we don't even realize we're seeing and then I'm gonna do a little kind of I don't even know what the term is for this but it's kind of a little bit of a segmented Ridge maybe a little some little little tiny buttresses say it just gives a little bit of a detail there that just kind of looks believable and fun but it's fairly easy to do just a few more ridges here I love going to New York Comic Con and taking tons of photos around Manhattan of just buildings building after building after building so that I can have this wealth of architecture in my my reference arsenal so that I can utilize it when I'm drawing my New York scenes and I need a specific look I can I can go for that so let's see doing a slight little brick texture here if I need some good straight up and down line so I'm gonna use my t-square t-squares because it makes it t this part goes on the edge of the drafting table and I can slide it up and down nice and secure and then black cat I just line up the bottom onto the t-square there just gonna pull it down just a little bit second the rest see what's difficult is that I'm right here at the edge of the art but I can't give this or paper it would be flush so I'm really gonna have to kind of fudge this a little bit hopefully I don't make too much of a mess it allows me to do some nice clean vertical lines as I stagger the bricks as I slide the triangle across the t-square right just kind of gives a sense of the building that she is now yeah she is now perched upon still kind of zoomed in here it's like y'all can see all the details and what I'll do is kind of with a 0:05 just add some some little flecks and weathering to the bricks not a lot maybe some cracks just here and there maybe a little bit here on the the lead she's on just to give it kind of more of a mortar sort of Pat pattern or texture you can do it however you want I'm actually looking at mortar textures in photographs so you can see kind of the shapes that you might want to translate it just gives a little more detail and creates a little more believability in the world that black cat is living in so this is why back turning how to draw backgrounds in perspective is important because a sweet shot of black cat can be can be not as cool if she's not in a believable environment a Jim Lee Batman isn't as awesome if Jim Lee doesn't take the time to put in a really cool gotham city Gotham City is a character in the Batman comics if you think of it that way the types of building the mood that it sets that that's almost a character in many ways Manhattan is a character in the Marvel comic universe and we create these buildings for spider-man and black cat and spider-gwen and silk and miles to swing about in that that's that's creating an environment for your viewer so don't skimp on the backgrounds backgrounds are hard but it takes practice and you guys know what I say about practice practice builds confidence or at least it can build confidence it all depends on the person and their ability or willingness I should say willingness to to learn so be willing to learn gang it takes time it's an evolution it's a journey so there we got a little bit a little bit you know how on top of roofs there's all those little extra things want to get some of those extra things in here some steam pipes as well does these extra little bits creating our happy little world for Felicia to live in I'll make sure I fill that spot in black all right they're on her thigh so we're really getting close to the end of the ink stage gang thank you so much for sticking with me I hope you're having fun I hope you're learning something and thanks so much for joining me here on this Saturday I definitely am having a lot of fun so we're gonna put it in that skylight I'd had roughed in earlier so I'm just doing the framing of those glass planes glass panels just just those few shapes creates a little something more for this roof which can be really nice really fun I get the t-square back to work again let's pull the camera back just a smidge as we inked in the skyscrapers skyscraper time everybody sky scrapers so now I can just set my triangle on top of this t-square and slide my triangle back and forth do make sure that your ink is dry before you slide your triangle across otherwise you will smudge up your line work and it is very disappointing and frustrating been there done that probably just last week so these skyscrapers are way off in the distance well well I say way off I mean a bit off so we're just gonna create more of a sense of skyscrapers instead of heavy detail skyscrapers we're not gonna see every last window because the focus is on black cat and on the building she's standing on these skyscrapers here are more of a design element to one fill out the city to frame black cat and I'm using a navy-blue micron here I didn't want to use the same traditional shade of blue as her as her fringe I thought that would compete too much I didn't want to use black because again that would compete too much with her body in the foreground so let's see you know I may have said this before but where do I get these blank covers I got this one at my local comic shop most comic comic shops carry them so you can you know check your local comic shop call ahead see if they have they have any blank covers for sale before you make the trip over or if you don't have a comic shop near you check on eBay I also buy mine off of ebay and you know just depending on how recent the cover is more recent covers are going to probably be a little bit less expensive maybe closer to five dollars in the comics been around for a while and is out of print the sketch cover is out of print then you could be paying maybe closer to twenty dollars so but this one I got for five bucks at my local comic shop because it's only maybe a month old so now just getting some skyscraper on this side this is all about framing Felicia and creating that world for her to live in takes a little extra effort to do but in the end it's gonna be worth it for the viewer sorry gang you couldn't see me pink that top of that building there just readjust the angle here so these are not heavily detailed skyscrapers but just enough to kind of give a sense of New York City let's see if it comes down here we'll just go ahead and bring these skyscrapers down see sorry gang just a thought process churning here let's bring this skyscraper down here cut it over we got like that so I just kind of gives a sense of the world around her maybe maybe just a little bit of a building a little closer in the foreground here this is kind of just a last-minute decision just to kind of utilize the space in a slightly different way I'm gonna add an antenna up here just as a little little extra because a lot of these skyscrapers have antennas on the top of them so it just gives a little just a little extra detail a little extra eye candy for the viewer it's just a little thing but these little things can add up just gives a little more a little more reality to the to the world she's in alright so now I still have to fill in all this black but before I do that let me put my t-square back to the top of my drawing board I'm going to erase all the pencil lines first it just finds it's easier and I make less of a mess if i erase first then fill in the black lines so I'm using a needed art gum eraser I don't know the specific brand but baby just I bought it off of Amazon I just searched needed oops I forgot there's some hair that belongs right there I'll fill that in afterwards since I already started erasing both had some hair that cuts right back through there and right through here so I'll need to make sure I go back in and add those but since I'm in the erasing the stage we're just gonna go ahead and finish that that process out needed KN EAD like kneading bread how you need it not any IDI like you're you you are in need like I need to get a needed heart gum eraser KN e a d e d needed arch gum or research or search art gum eraser and it's kinda like this chunk of clay nothing is actually clay but it's stretchy so you erase with it and stretch it out freshen it up and get back to work at erasing and it just kind of pulls the line up but you see there's no eraser dust as if I we're using my Statler Mars eraser in our race you're gonna get all those little eraser shavings this is just about pulling out the graphite and can help keep the lineart from from pulling off of the the illustration but do make sure that the ink is all completely dry that's why I didn't go in and fill in these parts because I did that with a blue started erasing I would run the risk of smearing that wet ink and I didn't want to take the time to wait for the ink to dry to get back to erasing so I will fill in those spots with her hair here in just a second like to make sure that face is completely erased don't like any any lines on her face there so this is what we've got going on so far gang thanks so much for hanging out with me I really really really appreciate it thanks for all the likes see we just went up to 93 likes thank you so much everybody appreciate that support you all having a fun time with me today so let's grab that micron that 0-3 micron again and we're just gonna finish out the hair that was hanging here behind her now you can't see it but I can still see the very very faint pencil lines that can use those guidelines to finish out her hair there boom now that hair is all where it needs to be and the fullness of it has been achieved do I enjoy drawing male or female characters and have ever drawn spawn I like drawing both I like drawing female characters I like drawing male characters I just love drawing characters so male female both are really fun have i drawn spawn yes there's a three part von spawn video series what I mean to say three part spawn video series here on my youtube channel just go search through my put in my videos and you will find it you can see a pencil video and inked video and a Copic colored video on a spawn blank cover Commission that I had done so just noticing a few more spots that need to have the graphite pulled off and there that is done so next up let's fill this fill in the black spots here and see them I'm using a Pentel pocket brush pen to fill in these black spots now and I like to fill do the erasing first before filling in the black spots because I have found that this ink on bristol board or these sketch covers this Pentel pocket brush pen ink if I fill in a big black spot like this and then go to erase at least with my Statler Mars plastic eraser it will tear the paper and I don't know why that is but I don't like that happening so I have learned a race first then fill in the spots with the Pentel pocket brush pen and everything is just fine and ideally I like to work from left to right because I'm right-handed so that hopefully my hand is not smudging through the places I have filled in with black again lesson learned from my experience so now once we start filling in these blacks the weight of Felicia on this page really kicks in to a whole nother degree that's like she is now really really existing in her environment she has really has now a presence I'm actually using this to thicken up some lines some shapes as I go making a little self edit so Copic color is coming up here in just a sec so do stay tuned phase three the final phase Copic color I know this is a long broadcast I appreciate everyone hanging out with me and like I said before for those of you who might have just tuned in and missed it if you need to take off if you have a busy Saturday totally understand come back and watch later this should end up on my youtube channel as a watchable video if I do if everything works out right and at the end of this video at the end of this live broadcast I'll be sharing the final fate of this sketch cover this is not a commission but a someone will end up with a sketch cover and if you want to know how that works stayed with me to the end or come back later I will have that info in the video description later on so next week I believe next week this will end up in someone's possession and that could be you alright so there's all the filled in black black ink like I want to make a little bit a little bit stronger black over here just really beefed up those shapes and when I say beefed up I mean make those shapes bigger beefier so alright give that just a moment to dry here you've been here for the whole livestream awesome thanks for tuning in thanks for sticking with me for so long thanks to all of you who have been able to be with me from from blank covered through these first two stages so next up is so I have this little scratch sheet of bristol board off to the side that I use to test my markers on sometimes I make notes as to what the colors are that I might be using so this was for something else that utilized a lot of green I think it was when I was doing my rogue livestream last week or two weeks ago so right now let's color black cap so let's push back in here push the camera in just a little sorry for the jostling gang so that you can see the details and so we're going to start with the e00 very light shade of skin tone I'm gonna just very cautiously drop in the the color leaving some white of the board as I often do for highlights but this is a pretty small shot of black cats so there's not going to be really any super big highlights maybe a little bit on the tip of her nose a little bit on the chin that's about it someone say this is endgame now yes we are now entering endgame now that was a double zero this is the e zero one they use this to kind of really sculpt in the plains of her face the a zero zero was for like the base shade now I'm gonna start sculpting in some of the the other aspects of the color of her face I will be coming in with gray for some more real-life shadows more realistic shadows but this will allow me some kind of color shadow for lack of a better term so keeping in mind that the shapes and angles like the bridge of her nose the eye socket of her eyeball the cheeks the jaw line underneath the nose the brow underneath the the flip of her hair the ear now I'm gonna bring in some e13 it's a much darker shade and my skin not probably we're heading mid midway in this skin tone collection I have get putting some nice little brown up here in her eyelid kind of give it that makeup you sort of look now I want to bring in I love doing rosy colored noses so I'm going to do some r20 I'm gonna start to put some color in her nose and her cheek just really like the life that it can give the character a little bit here at the corners of her mouth a little bit there underneath her chin now I'm go down to the r11 are one one okay just work in these pinks into her face Oh actually you know what I should be doing this reflecting this in her forgot she has her her upper part of her chest here is exposed so we're gonna sculpt in that a double-0 as our base again this either if I work all in whatever color I'm using up the time to hit all the areas so I don't forget anything like I was forgetting just now then easy row one start to sculpt out the cleavage a little bit a little bit here underneath the the fur lining back to that are twenty here for a little pink little are one one pulling from these sides here blend through that pink a little bit more and now r20 my finishing move for my pink shades kind of blends things together a bit like kind of pull into that white there so you can see how the white of the board has created a highlight as I utilize these two different shades of pinks and E's the e family of Copic markers so it creates a nice kind of rendering and I'll come in with some cool grades later on but right now we must put in all the initial base colors so next up her lips gonna give her kind of a nice darker shade of lipstick so we're gonna go with a rv9 v just here on the corners and at the bottom just a little bit see how I still leave white I'm gonna come in with lighter shades and these lighter shades of pink are going to merge with that darker shade of pink and blend them together in a really nice sort of smooth transition some RV 3 – RV 3 – getting those lips going and just want to darken them up a little bit more our v85 not quite red but not quite pink I keep in mind the shape of lips I study that study the shape of lips different kinds of lips by like drawing full lips so especially that bottom lip can be really fun shapes real nice roundedness now let's color her eyes not a lot of space to work with the eye so we're not gonna do a lot but we're gonna start with some b12 very tiny space I'm working in here so the rendering is gonna be isn't going to be as lush as maybe like with the rogue or gambit head shots I did last week for my live streams now some b14 just a little teeny drop right there at the top underneath the eyelid to create a little bit of shape there a little bit of shape alright so that takes care of her eyes I'm gonna bring it a little be the it must be zero one do not want that I want be zero be triple zero be triple zero gonna put just a little sculpting here I mean it's subtle this is Toth I'm least ina Lea tiny tiny barely noticeable subtlety to round out her eyeball like you wouldn't even be able to I don't even know if this translates in the video but if you look at it in real life you'll be able to see it hopefully it might show up when I post this to my social media afterwards so while I'm still using this be triple zero let's start to sculpt in her hair and fur textures of her costume so all the parts that are underneath where the hair overlaps that's going to get a lot of blue and will be coming over all this blue with gray a little bit later on so all the parts further away from from from the light source are going to get this blue here we're just gonna start sculpting in color here and you might see me erasing us some extra little pencil lines if I go over that with Copic color it traps the pencil line underneath I would not be able to erase then so make sure if you don't want any pencil lines underneath your Copic marker don't color over it otherwise you've just locked it in but if you do want it then feel free to to color over those lines and lock them in it might make for a really cool effect so you know happy accident and now I'm going to sculpt in this fuzz and kind of short little fur texture pattern might be kind of hard to see because this is a light shade of blue on white but I'm keeping in mind the shape of this collar just like I did when I was inking it the same rules apply as I color it create those those fuzzy shapes and the the volume of this big furry fluffy collar sitting on top of her shoulders and arcing around to the center of her chest want to keep that in mind I'll be coming over this with the gray a little bit later on once we get to the gray stage but right now it's just base color stage then more blue here where the the fringe connects to her or her arm or leg and then less when it pulls away maybe some here at the very end and some over here on this one and just curving around the the ink liner I've established leaving a good chunk of light to make shirt make sure I maintain that this is her white hair and in white fur actually giving a second or third coat in some places for that darker darker depth of up shadow and that's really gonna come into play like I said when I start to bring in those cool gray markers a little bit later on now I see I got a little bit of blue there by accident little trick I found I take my lightest shade of my e family the e triple zero so it's really juicy from when I refilled it work off that excess I can come in here and kind of rub that out a little bit boom gone so the ink is made to blend with the other ink and I can almost use a lighter shade to erase a small little mistake like that a bigger mistake might be a little more challenging maybe even impossible but but in that sense worked out just fine let's say I'll need my great collection of the markers I gotta get out my wallet of gray markers next up is her the gray of her bodysuit and I'm gonna use some neutral greys for that for the the main gradation from the black to a sense of color I'm gonna leave a lot of white in there because I want it really reflective and I think a lot of the white can create a really fun reflective nature to it so I'm going to start with some neutral gray five and anywhere I have black I'm just going to create a little white strip in between those two shapes of black right now leaving the outside part completely white for the moment I might make some changes as I go but for now that's my approach for the fingers it's a little more difficult because it's utilizing a lot more space I'm sorry there's not as much space to use so the the marker is gonna hit a lot more space but leaving some white chunks in there wherever I can let's tackle this me leaving a little bit of white that's a little little white shine right there we're just gonna fill that whole part in with gray now for the shin thin black line gets a thin grey line all the way down to her toe on this side we're gonna use a thicker thicker line thicker chunk like we're just gonna fill in the back of that heel leave some of the white on the wrinkles there all right let's hit this thigh now the arm is kind of overlapping the thighs so I don't mind bring in some color all the way through there and by color I mean this neutral gray five now let's bring this into her torso a nice little thin little white highlight through here as it merges with the wrinkles and wrinkles all kind of dance about here on her bodysuit it doesn't have to be perfect to just you know just trying to convey that sense as best as possible maybe a little bit of a color shadow there or the breast overlaps let's come onto this other side do this do something similar just leaving that whole outer rim completely white leaving that open at least for the time being I might add color there I might not I can make that decision as I go as I see how the whole illustration starts to come together down the leg to this foot just making some edits as I go filling in more color or gray as I see fit or desire actually I might just go ahead and fill that in now for her neck there's not one fat hard fast rule for this a lot of it can just come with just personal preference maybe some design choices as well as what would exist in real life it's it's kind of a dance between all those thoughts because we are breaking some rules of science as well as trying to incorporate rules of science but also incorporating rules of design and breaking rules of design so a lot of these things is obeying and breaking the rules simultaneously sometimes it's just it looks cool it looks cool it doesn't necessarily reflect true real-world science but then again we have a guy in this world that was bitten by a radioactive spider and it didn't kill him he got superpowers that's not real world science either so it's a suspension of disbelief but where where do we push and pull that suspension so so allowing ourselves to kind of experiment and utilize trial and error to see what what what works what doesn't work what looks cool what looks what what mist might miss the mark that misses the mark that's okay you just it's just a learning experience that you take into your next illustration that's what we all do okay all right so it's a little bit of edit there a little little gray through the wrinkle there at the knee joint to pull this back just a smidge so you can see the entirety or a bit more of the entirety so she's really starting to come together really starting to come together so it's not time for the shadow yet we'll start to color in some of the the background here so I'm gonna use some cool grey because I think cool gray will be it since we have so many so many neutral and cool colors here I'll actually want to use a warm grey is what I need to say so I mean with a warm gray one w01 to to ink the ledge that she's on or to color the legend shoes on I should say just using the broad tip here just to get kind of the initial initial base color down now some warm grey to just darken that up a little bit maybe use the brush tip for to create some some textured mortar grit use the broad tip to kind of get in that base color and now the brush tip so just to kind of dance across the board to create more of a concrete sort of look just let it dance a few little dots here and there may be some big chunky parts and now it looks kind of textured this very subtle texture because we don't want this part to overpower our star this is the supporting cast right here so let's let's color the bricks here I'm going to stick with a kind of a warmer shade and we're gonna come in with some III one for the bricks kind of a very light shade of brown kind of a tannish Brown just going to pull this through here and that's actually gonna use that same shade of brown for this part of the building behind her because it's a part of the same brick and mortar building now let's come in with that warm gray one as we had used for the lead she's on again still same part of the building so it establishes this is all one kind of building she's on and then the skyscrapers will be a different building behind her different buildings I should say well warm gray – just for a little texture there let's see these pipes let's see we'll use this several different Gray's here we're gonna use a neutral gray just to get that metal sort of look but this metal sort of look is too close to the gray of her costume so I'm not gonna leave it at that I'm gonna come in with a different color like let's come in with some warm grey three to help take away that neutralness of it all see how that looks we've used some of this warm grey well like that the warm gray three put in some texture there into the brick I'm going to reflect that down here as well just kind of filling in some cracks and dotson rough texture now I'm going to do is I want that – can I have like a bit of almost like an army green sort of vibe to it I move mix some green in here just gives a slightly different shade of grey it's like a greenish gray and we have this skylight here so let's use some cool grey for the the trim at least initially here this cool gray is a bit close to her neutral gray so I am gonna want to break that up with a different colour so he's something opposite of cool so warm let's come in with some p84 it's very it's almost like a khaki color so it makes it a very muted sort of color but isn't too cool grey or two to cool of a colour and let's see we got it we have the windows here so we're gonna start with some sea wees this be g90 don't want it to I don't want to use a light blue like I often would for it for a glass so I will mix in a little light blue actually I'll use some BG triple zero in with this give it a sense of blue but not overpowering the blue over here so it kind of brings it together but doesn't overpower or distract from black cat okay so now I have the skyscrapers here still have to come in with the shades of grey but I want to get my my night sky and my skyscrapers here so skyscrapers will do next what I want to use I like that BG nine zero so I'm gonna keep using that this is just my subtle framing shapes so we're just gonna pull down from the top of the building down just letting it kind of fade maybe the light of the city is coming into play here you know it's coming down to two white this doesn't have to be quite exact just gonna use this same shade all throughout for now because I don't want multicolored buildings distracting from from from black cap if I did a a green building and a blue building and a purple building it would are very subtle shades of those colors would be too too colorful I don't want to be too colorful of a city behind her I want it to be muted I wouldn't buy muted I mean not vibrant it's kind of held back a bit so that she continues to be the star of this image and the buildings are her supporting characters there are no small buildings only small buildings okay but that no small part only small actors thing doesn't translate here I tried let's come in with some BG triple zero much like I did here on the skylight I'm gonna utilize this in on one side of the buildings just to give it some some depth some three dimension just as simple as that just gives it some color and dimension without being too overpowering it definitely gives gives us some color okay use that right here on this building as well so so just as simple as that just if we're just wanting a hint just a taste just a flavor of New York behind her I think I'm content with just that amount because we also have to do the sky now with the sky it's we're gonna do a fade you might have seen me do fades in other videos and this is definitely gonna be a fade I don't want to do a black sky because I want because the light of the city reflects up into the sky cuz that kind of night shine in the city so I'm going to want to use shades of purple like dark shades of purple moving down to maybe a shade of orange or well we'll see as we go right now we're gonna start with B v25 now this is gonna be challenging because I'm not gonna fill in the entire cover here I'm gonna create just kind of like this this a little bit of an arc halo if I do want to very very lightly kind of give myself a guideline that I can just kind of work with this this marker will be really dark here starting off so it we won't even probably won't even see that that that pencil guideline I'll shine move it closer here you can see I did a pencil guideline just to show the arc here I don't want to don't want to fill it off into here it would be a waste of of ink and it will distract from the logo and I really like the logo so we're gonna keep that in mind here so starting in with beat what I see this was the bv2 5 it's kind of this greyish purple I'm gonna leave a halo around her just so we don't lose all that line art at least that's the intention right now I might change my mind as I go gonna leave a halo at the logo as well definitely want the halo at the logo the halo is just a white a white ring left around the character or an element that you're illustrating we call that a halo okay so that's some bv2 five this kind of can be an amorphous sort of shape go switch to the bv3 for this is going to be a more vibrant shade of purple kicking in now going over not super vibrant but more vibrant than that be v2 v SBB three four kind of blending out away from it into the white here and down towards the the city so this this BB three four is reacting with the ink that I just laid down kind of blending the colors together just chunks of color for now now I'm gonna take this to a bv1 one beefy is blue violet one one so this is a more vibrant purple so as we get closer to the sky shine of the city now this might be early evening the Kabir maybe it's early morning maybe it's like 4 or 5 a.m. you know the viewer can interpret how whatever time of day they want here I'm not dictating what time of day it is necessarily I am trying to indicate that with my intention but the viewer is more than welcome to to fill in the blank and tell the student and see the story they want to see as I go or as as they interpret the illustration before them just kind of some-some swath here swath swaths pluralized swath is a difficult word to say but using these purples because it's nice and subtle I think it's the color complements or a bit as you can see I got some purple there in my sky on my building if I don't want that come back in with that bg-30 color over it wiped it right out wiped it out now you and I will be the only ones that know I accidentally got some purple in there but don't tell anyone it'll be our secret some more purple down through here really kind of tighten up that halo now I think about it because this this shade of purple is so light I'm gonna ditch the halo because she's already haloed as it is having that white that white highlight through there so we don't really need the halo because otherwise it almost looks like a double halo and that's not what I want so with this be v1 one I'm just gonna blend everything all the way up to the line art this is me making the edit as I go because I know 'test something in as I was illustrating and Psyche know what what I thought I needed I don't need so I can make that change right now as creator of this image for what I feel might make a stronger hopefully it makes it a stronger image at least it's a choice that I'm happy with and I feel it's the right choice for me if you have a varying opinion you're more than welcome to have that certainly don't thought you for that whatsoever we all have our own preferences and tastes okay so now let's see we want to pull in some even lighter shade of purple at the very very bottom and this is the v01 this is a bit a bit of a warmer shade of purple and as it mixes with the previous shades and create a really nice blending effect I definitely want these colors to all mingle together maybe a little bit as we pull away into the white so just like that okay so that pretty much takes care of the background I was gonna use some oranges but I think that might be too overpowering I'm just gonna leave this as is for the for the sky because again like I said I went the route I really want the focus to be be my homegirl black cat here so now I want to bring in some realistic shading in her face and in her hair so I'm gonna use some cool dress we're on the tail end gang and we'll do a little Q&A here at the very end so I can address a handful of questions so I'm using some cool grey one c1 I'm going over all the light blue spots with this shade of cool grey here initially same mentality of shape and form coming into play starting off light because I can always go darker and I probably will add some even darker shadows momentarily don't forget I will be sharing the final fate of this illustration this is not a commission this will be a giveaway and I'll have more information on that here after I finish the illustration I also have that information in the the information of this in the description of this video below so if you have to come back you can come back and read up on that to see how you could maybe be the person to have this sent to your your home and you can be the owner of this piece but that information is to come here in just a little bit when I can focus on explaining how it all works so now I want to add the same cool gray one to her skin tone as well write down the Bridget in fact let's push this in so you can see more than my technique the bridge of the nose right there see how it's already starting to really kind of sculpt out that bridge of her nose and I didn't have to use line art and shadow underneath that hair shadow along this jawline and at the cheeks and underneath the nose absolutely really helps create that nice 3d effect might even come in with a darker shading a little bit but this is just now my initial base shadow a little bit there in the teeth underneath that hair right here at the cleavage just a little bit right there underneath the the the fur collar alright that's that's essentially wave one of the shadows now I wanted to go a little darker in certain spots so I'm gonna bump up to a cool gray three definitely want darker shadows here in the further back parts of her hair maybe underneath her bangs here just a little bit definitely under through the eyelids kind of a smoky eyes sort of look a little bit definitely underneath her nose maybe a little bit here at the bridge at the top of the bridge just real subtle don't want to don't win it I want to maintain a nice thin sort of details maybe a little bit here on the lips underneath the chin underneath that hair under the back part of the the fur collar definitely back here behind the body see what I'm doing there gang see how it all kind of comes together and creates the depth little more underneath that hair there really create that sense of depth a little bit more at the corners I can always add in more more dark as I need it start light and work your way dark darker bit by bit it's a game of patience but I think you'll be happier with your illustration in the end because you can always make things darker it's a bit more challenging to make it lighter it is possible but I'd rather work just light to dark and just go darker as I need it then try to figure out how to make it lighter and hope that it all works out all right we're on the tail end gang we have almost completed this illustration thank you so much for everyone who's hung out with me here today if you came in late so glad you're here if you had to leave early and you've come back to watch now here on my channel thanks so much for coming back I really appreciate all of your support thank you everyone to subscribe to my channel I really appreciate that support as well thank you thank you thank you when I was just sorry if I was off camera frame I forgot I'd pushed in just adding some more shadow to these these spots here let's pull the camera back just as we can see Felicia and more of her glory let's see put this marker back I think we're about set here actually what I want to do just another little little cut here is I'm going to take some neutral grey six I used neutral grey five for all this I want a little neutral neutral grey six to cut in some little extra details some little extra cuts here and there to give a little more a little more eye candy I don't want to go too crazy with it I just want a little a little more definition and just going a little bit darker and some just a few key spots and I'm considering the shapes of everything and where those spots might be like here in the knee or in the shin and the thigh at the ribcage at the shoulders here inside the palms of her hand across there underneath the neck as I'd done before just doing a little more just to give it just a little more just a little more gray just a little few spots of some darker grey right here at the chest just gives the viewers eye just a subtlety of Mordor for their eye to play with is the thing I'm considering here just to give it a little more life a little more bounce there we go so let's see I'm gonna take my uniball signo white gel pen I'm just gonna dot in a few stars we're not gonna see a lot of stars because the sky shine of the city is going to kind of make some most stars hot difficult to see but you still can catch one or two stars one or two Jing definitely more than one or two but you know you can see a handful of stars mostly in the dark purple parts so I'm not going to crazy with the amount of stars not like a would if it were a spacing if it was a space scene oh my gosh stars galore more stars than you can shake a stick at why you'd want to sit shake a stick at star I don't know but it's something that old people say and we're older generations I should say I don't know where that phrase came from I should look that up why do people say more than you can shake a stick at that's got to be a very antiquated phrase but I don't know something I grew up hearing as a kid down in Texas so maybe it's a southern phrase you know we see a lot of weird phrases in Texas so there we go just some stars there just gives a little bit of a little bit of a glitter behind her now let me throw my autograph on here and this piece will be done gang y'all did it you made it through with me go sign right through the this part of the lid she's standing on and today what day is today it's the 27th today is the 27th that's right so 2 7 she'll lie 2019 and there we go pull the camera back for a final view there's full of it view as possible of this lap cat cover there she is so let me flip the camera around we'll do a little bit of a QA and I'll share more about what the final fate of this illustration is so let me flip this around who is cameras getting high this camera is getting hot people hopefully this won't freeze up I have it out of its protective guard and have the fan on it here so we don't overheat and freeze up I can't believe we've gone this long without the camera freezing up so so that's fortunate how's it going everybody will tackle a few questions but why don't you prepare your questions I just want to let you know this black cat sketch cover this piece is in honor of me hitting 150 thousand followers on my Instagram account are you following me on instagram if you're not come follow me on instagram the link is in the video description right now and it's in the video description of every video I do , follow me on Instagram and I will have information on the post and I'll have a link to the post on Instagram that tells how this will be raffled off essentially when I post this image to Instagram for my 150 K giveaway I will have instructions on you essentially posting a comment and in that comment you tag one friend and then one randomly chosen person sometime next week maybe Tuesday if next week I'll have the info in the post itself will receive this illustration personalized to them so it'll be to whatever your name is time knock so this is will be a four raffle so come to my youth and my Instagram channel the shield go Graham is in the video description below just go below and I'll have in bold letters where to go now if you're watching this video after the giveaway has been done I'm so sorry you missed out but stay tuned I will be doing more giveaway when I hit these landmark follows on my Instagram account maybe at some point I'll do some YouTube giveaways once I learned the proper way to do that a lot of research there's a lot of rules so it's easier for me to do giveaways on Instagram and I've got the highest audience on Instagram on all my social media so it's a lot easier to do so while we still have time let's tackle a few questions I'll scroll back here see if there are any questions that I can address now unfortunately I can't answer every question but I'll do my best to answer as many as I can let's see well it's my favorite step in a three-step process pencil ink or color every step is important and I enjoy each step but I think my favorite step is always the last step because that's when everything comes together the vision finally comes to pollution it's all fully formed so I'd say if it's just doing inks inks is my favorite do what I'm doing like my comic book work the stage has always made people because this is it the final lines everything is finalizing if I'm going full color is the color stage because the pencils and inks were setting me up to do the colors to bring it all home so so it's oh it tends to be I would say the last stage of whatever it is because it's been a journey through the pencils through the inks to the colors I'm coming home through the sketch through the pencils through the inks finished that page of art now I'm on to the next page for the comics so usually the last stage because there's been so much that I've experienced getting through their favorite moments from drawing your Nightcrawler one run of your favorite favorites ever I love doing Nightcrawler is so great with working with legendary x-men writer Chris Claremont I grew up reading his x-men comics and I call it one of my favorite x-men and now I'm working with him well that's why I was saying in 2014 it was the 12 issue series so much fun stuff that we got to do the death of Wolverine tie an issue was a lot of fun I think that was probably my favorite issue but I loved drawing every issue but getting to do that death of Wolverine we got to touch on some really fun key moments of Nightcrawler and Wolverines history as as best buds together so that that issue was a really powerful issue since well-written had just passed away at that time but so many other great memories working on that book it's

12 thoughts on “Todd Nauck Live Art Broadcast 024: Black Cat

  1. todd i have dc super hero girls 2 wonder woman dolls and 3 fire star dolls and 1 back fire doll and 2 poison ivy dolls and 2 super girl dolls and 3 bat girl dolls and 2 thumble bee girl dolls love David

  2. Amazing, I commented on you IG as well as tagged a friend. I draw and paint myself along with collect comics but. Your art is next level 🔥

  3. This is magnificent buddy! You drawing process videos, particularly in real time (though definitely in timelapses too) are so mesmerising to watch and watching the process is such an insightful, beautiful thing

  4. Porque quiero ganar este concurso porque como dibujante mexicano amo a los grandes artistas del cómic como Todd Nauk. Suerte a todos y viva México

  5. I want this so badly! Black Cat is my all tome favourite. I relate to her backstory so much. Reading her comics helped me come to terms with a lot of my past. I love her! So cool to watch this as well. I also like to try and do my own fan art (not as good) @cirque_de_chole

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