So that's actually the part I most want to refine next! Right now, for these race reports, I do some of the inking digitally, in Procreate beforehand. I'll draw some scenes that I'm pretty sure will happen, and then I'll do a few others where I draw a rider with no background or context. Then I print them on watercolor paper, and on race day, add specific details/backgrounds/context/everything else with a Pigma Sensei .3mm pen. That's also why everything gets the same border, I'm essentially printing a bunch of 3x5 pre-sketched canvases at various levels of completion.
I want to experiment with a Rapidograph, but so far I've stuck to really affordable materials, and try to digitize portions of the process to give myself a fallback in case something catastrophic happens, like dropping my pack in a puddle. With this current process I can always re-print frames if something goes wrong.
In the future, for races not close to home, and longer events, I'll probably sketch on course, do finished drawings in the evenings with those Pigma pens, and then paint the next morning. The behind the scenes workflow of trying to make enough images to tell a cohesive story in a really limited timeframe is really interesting and exciting to me, and I have a few other ideas, for collaborative art with riders/spectators that I'm excited to try.
Sept. 9, 2022, 8:11 a.m. - Cydwhit
So that's actually the part I most want to refine next! Right now, for these race reports, I do some of the inking digitally, in Procreate beforehand. I'll draw some scenes that I'm pretty sure will happen, and then I'll do a few others where I draw a rider with no background or context. Then I print them on watercolor paper, and on race day, add specific details/backgrounds/context/everything else with a Pigma Sensei .3mm pen. That's also why everything gets the same border, I'm essentially printing a bunch of 3x5 pre-sketched canvases at various levels of completion. I want to experiment with a Rapidograph, but so far I've stuck to really affordable materials, and try to digitize portions of the process to give myself a fallback in case something catastrophic happens, like dropping my pack in a puddle. With this current process I can always re-print frames if something goes wrong. In the future, for races not close to home, and longer events, I'll probably sketch on course, do finished drawings in the evenings with those Pigma pens, and then paint the next morning. The behind the scenes workflow of trying to make enough images to tell a cohesive story in a really limited timeframe is really interesting and exciting to me, and I have a few other ideas, for collaborative art with riders/spectators that I'm excited to try.