CONCEPT DRAWING | ILLUSTRATION | URBAN SKETCHING
Issue 01 sample | Designs are subject to change
GRAPHITEMAG.COM
Graphite issue 01 cover ar�ist:
kim jung gi Kim Jung Gi is a Korean ar�ist and co-creator of the SuperAni studio and AniChanga school in Seoul. He is world-renowned for his sprawling, spontaneous drawings, which he o�ten creates without a preliminary sketch. Kim does not use photo references for his drawings, but constantly observes the world around him and uses that knowledge as a basis for his artwork.
BETWIX THE QUARY STON An interview with Sam Wolfe Connelly
8 | Betwixt The Quarry Stones
Sam Wolfe Connelly is a gallery ar�ist and illustrator with credits ranging from Magic: The Gathering cards to mul�iple solo and group exhibi�ions. He commonly works in graphite, carbon and oils, depic�ing mysterious scenes that draw the viewer in with skilful shadow-play.
Q· Thanks for talking to GRAPHITE, Sam!
A· For me it’s always seemed like what I
First o�f: who are you, where are you from,
should be doing. I grew up having a passion
and what do you do?
for drawing and I probably made the decision to turn it into a serious career in high school.
A· I grew up in Northern Virginia, majored
I’ve always been more into the gallery aspect
Left
in Illustra�ion at SCAD in Savannah, Georgia
of things rather than the illustra�ion side. But
Moonlit Jawbreaker
and am currently living in New York City. I’m
both can be fun.
Graphite/carbon 11x14”
a gallery painter and a freelance illustrator. Right
Q· When did you decide to pursue art as a
Black Tide
career?
Graphite/carbon, 11x14”
"I like to create elements of a story in each piece, but never give away the ending so that people may interpret something completely dierent from what sparked me to create the piece"
10 | Ribbon, ink and bone
In this ar�icle, we’ll look at how to sketch a detailed graphical design and render it in ink, learning how to create tone, texture and varia�ion in what can be a challenging medium.
01: Materials
the most suitable type to use in technical
These are my most important tools. On the le�t
pens. When it comes to drawing with dip
side are my technical pens, dip pens and India
pens, I use the same ink as for the technical
ink. Scalpels are in the middle for smaller
pens. This way I eliminate the risk of having
correc�ions. On the right side you can see the
di�ferent inks (cooler or warmer blacks, shiny
tools I use for sketching: mechanical pencils
or matte) within one drawing, which can be
with graphite refills in di�ferent thicknesses
very distrac�ing.
and degrees of hardness, and also a few erasers. Liquid masking film and masking
It is very important to choose the right
pens are on the bottom, which I use only
paper to handle mul�iple layers of wet ink. I
Above
occasionally to create an unusual surface.
generally use 250-300gsm hot press Aquarelle
01: Materials
watercolor paper. I have tried other papers For each drawing I use only one type of ink:
before but this works the best. The ink �lows
Top right
technical drawing ink. Mul�iple layers have
nicely on it. Another advantage is that the ink
02: Sketching
to be applied to create the deepest black, but
remains black, as the paper is acid-free.
I find this is an advantage because numerous
Bottom right
shades of black can be achieved. This ink is
03: The base sketch
Detailed drawing and intricate inking with Benze | 11
"Once a sketch is done, I always remove it from the book instead of turning the page. I like to see the dierent phases next to each other rather than leaving them in the book"
02: Sketching
03: The base sketch
I sketch a lot, both for whole composi�ions
This sketch does not show every detail, only
and for smaller component parts. I use India
the main composi�ion. I use this as a guide
ink or pencil in a spiral-bound sketchbook.
placed under the ink artwork and lit through
Once a sketch is d one, I always remove it from
on a light table. I used to make these sketches
the book instead of turning the page. I like to
more detailed, but recently they’ve become
see the di�ferent phases next to each other
simpler; this way I have more freedom to
rather than leaving them in the book. That
modify things during the inking process.
would only frustrate me. I can sketch any
Since a larger drawing can take a month to
�ime and almost anywhere. It is much easier
complete, changes o�ten occur, so for larger
to develop your technical skills and bravely
drawings I usually create a tonal sketch with
try new ideas on a small piece of paper than
graphite as well. That helps me find my way
on a final piece of artwork. Of course, this
and control the tones on the artwork. It also
happens some�imes, but it requires a lot more
speeds up my work with the ink, knowing
nerve and considera�ion.
which tone goes where. Once the midtones are set it is easier to proceed.
12 | Ribbon, ink and bone
04: Prepara�ion On the final artwork I do not use any graphite, only pure ink. My only guide is the sketch on the light table under the artwork. Every picture is me�iculously composed, with a lot of changes, adjustments, and correc�ions to the sketches beforehand. I start working on the ink piece only when I am fully sa�isfied with the sketch. I make all correc�ions on the sketch page only, and the final paper sheet must stay free from any graphite or eraser marks. If the final sheet isn’t clean, the ink can behave unpredictably on the erased areas.
05: Dip pens I use dip pens for more dynamic and expressive lines. The thickness of these lines varies gradually. In this example, the contour lines of the bones have been drawn with this tool. A three-dimensional appearance can be achieved very easily this way: thicker lines can give a kind of shadowed feel, while the thinner ones help to show light or di stance. This tool is suitable for drawing contours, emphasizing certain areas, hatching and crosshatching. It gives me more characterful lines than the technical pen. I o�ten use dip pens to achieve a change in the texture of the lines, especially for organic shapes such as hair or plants.
Right 04: Preparation Above 05: Dip pens
Detailed drawing and intricate inking with Benze | 13
Old Cowboy • Tan Zhi Hui • Digital sketch
Dragon drawing • Filip Burburan • Ink on paper
BABA YAGA Drawing, pain�ing and illustra�ing with Matthew Filipkowski
18 | Baba Yaga
10: Frame When I am applying the paint, I rarely ever paint over an en�ire area with solid color. Instead, I make �iny dash marks with the brush in the direc�ion of the form. This method, when layered over the top of another color, allows the underlying layer to show through and create a sense of depth. Slightly di�ferent hues of green layered on top of one another mix op�ically, similar to how poin�illism behaves, and creates an interes�ing texture. During my research of Baba Yaga, I discovered that a Russian ar�ist, Ivan Bilibin, had previously made illustra�ions for the story. Many of Ivan Bilibin’s works are surrounded with an illustrated border which helps accentuate the story in the image. As a sort of homage to this amazing ar�ist, I decide to design a frame for my image in a similar fashion.
Right Adding a border reminiscent of Ivan Bilibin’s classic artwork
Sketching the City Drawing New York City with Eleanor Doughty
22 | Sketching the city
We join illustrator Eleanor Doughty on a tour of her favorite New York sketching spots, and take a look inside her inspiring travel sketchbook.
"My philosophy is that when the world oers you a bench, you should sit on it" I moved to New York a�ter gradua�ing
Williamsburg, Brooklyn
with my BFA from VCU School of Arts in
It was supposed to rain on the day I drew
Richmond, Virginia. I wanted to make a
this, so my friend and I planned to go to one
career doing window displays, and NYC is one
of the beer halls in Williamsburg to sketch.
of the few ci�ies in the USA where it’s a viable
Of course, at the last minute the sky cleared
freelance career. But I also really wanted
and the weather became so nice that we had
to live somewhere that I could walk or bike
to stay outside! A�ter wandering around
Top right
everywhere, and would also be fun to draw. I
the neighborhood for a while, we finally
Start with a rough pencil
consider myself lucky to have a crea�ive career
settled on a bench outside a random deli on
sketch to lay out the
that supports me: I work in both display and
Metropolitan Avenue. My philosophy is that
composition, establishing
freelance illustra�ion these days.
when the world o�fers you a bench, you should
the largest object first.
sit on it. Most street corners in Brooklyn are Urban sketching is my release, my joy, my
interes�ing in some way, so you can do a lot
Bottom near right
reason for going outside. We in New York City
worse than sit�ing and drawing one, a nd even
With a parallel pen, draw
enjoy great public parks, museums, landmark
better if you have back support!
in the foreground – in this case, everything on
buildings, boundless opportuni�ies – but you
our side of the street.
know all that already. I co-run a weekend
The first line I made in this drawing was
drawing meet-up at various spots in the
the le�t side of the tallest building across the
city and teach people of all kinds of ar�is�ic
street. Drawing its top and bottom corner
Bottom far right
backgrounds strategies for drawing, which
ensures that I get the whole thing in, and
Move into drawing the
has helped me find my voice in this genre of
forces my composi�ion to open up; I call this a
middle ground and
illustra�ion. I don’t leave the house without a
landmark. So, everything else in this drawing
background, careful to not
sketchbook.
will be rela�ive to that building. For example,
overlap any objects in front.
D r a w i n g N e w Yo r k C i t y w i t h E l e a n o r D o u g h t y | 2 3
