Chloe, thanks for putting this together. It is well thought out and comprehensive, but it is also concise and easy to understand, so you can get to executing your plan!!
Glad you enjoy it! The blog usually has additional info and links to resources, if you haven't already had a look (my website is a little slow right now but to be improved in the near future): longstrideillustration.com/blog/
I have just been looking at Wrightson's illustrations in his book Frankenstein. There is one where Frankenstein is high up the mast of a sailing ship while searching for Adam, the name of his creation which most people miss. Apart from his hair and his coat showing the direction the wind is blowing the power of the storm is shown in the rendering of the clouds using long thin lines which stretch across the sky. Wrightson does have an eye for detail. In another one of his illustrations he shows a man, presumably Frankenstein, sat in a window looking out at the rain, maybe a foreshadowing of his later voyage. Looking at the shadow of his head on the wall behind him you can see a slight dip at the top of the shadow suggesting the man has some sort of parting in his hair and a possible curl in his hair to the side. All together a total delight.
Do you know Michael Zulli's work on TMNT? Issue #31 in particular is incredible, but #35 and #36 completes his little trilogy of issues. There's a video online by Cartoonist Kayfabe that go over it. They're Eisner winning cartoonists themselves, or were. One member recently passed. You can find some slightly muddy scans of it online too. Your crows are beautiful and very reminiscent, though he used screen tones a lot. I only discovered Dore last year along with Roy Krenkel, Franklyn Booth and now Evan Cagle as a new master of pen and ink. Your work is really gorgeous.
Buy a ream of A3 or 11x17 paper. Sketchbooks are cramped, expensive and don't support your arm and wrist which usually means posture too. Work big, use your shoulder. If you want to draw comics or manga, get a physical sense of how the interaction between body and art changes at scale. Drawing smaller when you understand what you're doing is easier. The opposite is... the opposite.
I am really glad I discovered your channel. I recently picked up drawing and currently working through drawabox which puts a lot of emphasis on using fineliner/ink which lead me to working with ink and crosshatching for most of my newer artworks!
It's a Swing Arm Magnifying Desk Lamp by YOUKOYI - you can find the full list of my studio equipment on the FAQ page of my website: longstrideillustration.com/faq/
Great video! 😃 Thanks for sharing! The Hunt 102 and other Speedball nibs are hard to find in Sweden. What nib would you suggest as most close in performance to the 102 crow quill?
Sure, thanks for the feedback. It's a challenge to edit videos that will appeal to everyone. You can expect some variety on the channel, otherwise it gets a bit uniform/repetitive. Though, I do indeed prefer a chill vibe as the norm 😊
Your videos have inspired me and taught me so much the past few months! I can't wait to delve into Toppi's work and possibly do a master study myself 😁
How do you get your crow quill nibs to not catch on the paper while doing anything but a straight downstroke? I've tried less pressure, different angles, different nibs, everything.
I hold my dip pens at a 25-30 degree angle, with a loose grip, higher up on the shaft - away from the nib and use a combination of viscous ink on smooth paper. Here's the trailer for my dip pen course, it gets deeper into it: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_LKIHxO0fZg.html
I was jealous of your pen holder, so I sculpted my own out of clay that looks like a bear (my favorite animal). Oh, hey! A bear! Anyway, love your videos and find them really inspiring and helpful.
What an interesting study, i personally struggle with textures a lot, I find difficult to come up with proper material representation. This study beatifully reminds me that sometimes the textures don't necessarily need to be representative, as long as they're interesting. I think with this knowledge i might dedicate more time to coming up with textures that i find interesting instead of focusing on natural representation.
@@longstrideillustration the only question then becomes how to tackle crosshatching, but that's a whole other beast. I've noticed that traditional ink on paper techniques tend to utilise minimal crosshatching (or when they do it's in a very different manner) while when tone comes into play crosshatching is employed almost exclusively. This might also be a cultural thing, since you rarely see Japanese illustrators not use tone. It's truly strange because crosshatching feels very chaotic to me, yet illustrators like iwamune haruo make it seem so natural and organic. This might be thanks to the tone too admittedly. Sorry for the slight tangent, I really find this strange and interesting, because the use of crosshatching by Japanese illustrators is very pretty and they do not avoid using it in the slightest, if there is almost any amount of hatching another group of lines is sure to cross with it.
@@Mikuru-inkings I hear you! I'm conflicted about cross-hatching because of my admiration for Booth and Wrightson's styles. But stay tuned because I'll be doing an Albrecht Dürer study soon that will have us practicing orderly cross-hatching and nice tonal variety.
My suggestion for a video, if you find it interesting. Luis García Mozos: farm2.static.flickr.com/1345/4606487323_c98ac258c9_o.jpg farm4.static.flickr.com/3314/4607101988_a809b26623_o.jpg
Thank you for the video. I discovered Sergio Toppi's illustrations/art a couple of years ago, the large and impressive volume of his work/art is staggering, what an amazing talent he was. I hope more students and lovers of illustration/ pen and ink/art in the US check out his art, he was a true master.
I have to say that I feel in love with Sergio Toppi's illustrations the first time I saw them. Not only is his rendering a delight but his composition and his use of white space is so inspiring.
I agree, and also Toppi's imagination is delightful - it reminded me of the type of stuff I used to sketch as a kid (instead of listening to the teacher in math class). His style is dream-like.
@@longstrideillustration Mam I don't know very well but a youtuber Jadokar who use scumbling hatching. I search for a long on RU-vid but I didn't find artist who use scumbling hatching 😭
@@jagritimishra4928from what I know about that type of hatching it isn't typically used with ink. I interpret the method as layers of scribbles that add up to tones the more you overlay them. Generally I wouldn't worry about studying it that much, this style is one that you learn from experience and experimentation, try and be more loose with your outlines, combine line flow and direction with the direction of the scribbles too. I think it's a nice method to have in your repertoire, it mostly follows similar outlines as hatches or crosshatched would, you just make the line/lines a bit more "funky", as long as you have a decent foundation in those areas it shouldn't be difficult to grasp.
I just purchased my first kit yesterday from my local craft store (I haven't even opened it yet), but I think I'm going to return it. As beautiful and relaxing as I think using the pens would be, I didn't know it made such a God awful scratching sound on the paper. It gives me goosebumps and the shivers 🙁😣😣😖😖😣😖😖😖
Oh no, that's too bad. Are you using super-smooth bristol paper? Alternately, you may enjoy the glass dip pens - they're less scratchy though also less versatile than the metal nibs.
@@longstrideillustration Honestly, after watching your video (you did absolutely NOTHING wrong!!!), I didn't even open the kit. I also purchased 2 separate "pens" and different inks. I didn't buy any paper because the kit comes with some, although I don't know what kind. But after watching your video and realizing that it makes such a scratching sound I didn't even want to open everything up and try it 🤣 I just looked at the kit (it's called Manuscript Calligraphy Set, from a UK brand called Manuscript Pen Company) and it doesn't say what kind of paper it comes with (I don't know anything about any of this. It's my first time even thinking about "getting into it"). It just lists the contents as.......... ● 2 Manuscript Foundation Pens ● 4 Calligraphy nib sections - 2B, 4B, Broad ● 12 ink cartridges in assorted colors ● Practice pad ● 3 Ruled guideline sheets ● Letter by letter introduction manual I didn't want (at least I think I don't want 🤣🤣) the ink cartridges that the kit comes with, but I couldn't find an all in one kit without cartridges. That's why I purchased 2 separate dip pens from Speedball. Sorry for such a long comment. I don't know if any of this information helped answer your question. I just don't know anything about this suff. But I want to learn SOOOOOOOO bad ❤️❤️
