Step 1: STARTING THE JOB - SKETCHES
The first stage of designing artwork always consists of numerous pencil sketches. There is always some head-scratching at this point regardless of the complexity of the work as every job is different.
Once we have found a feel that we are happy with, we select the approaches that we like the most and tidy them up (still in pencil) and scan them in to prepare them for sending in an e-mail to the client.
Step 2: SKETCHES - CONT'D
After we have received an e-mail back from the client, giving the client's response to design and approach we then move onto the preparation for the final stage. This is still only kept at the pencil stage. Even though we use graphic workstations extensively in producing artwork, we still use the traditional methods of pencil and paper, ink and brush. Once again, the pencil sketch is scanned, resized and e-mailed to the client for approval.
Step 3: INKING and EXTRA ELEMENTS
Taking the scan of the approved sketch we usually adjust the image to a comfortable inking size and print it out. This is then stuck under a sheet of tracing film with a thin layer of aerosol adhesive that allows for repositioning. We then proceed to ink the artwork using an acrylic brush and Rotring ink. We are very choosy about our materials and Rotring Ink always gives the best black. We used to use Indian Ink, but it has a tendency to give an inconsistent black line, especially when first used.
When we ink all of the artwork we usually separate elements from one another so they can be layered independently from one another. This might seem unneccessarily time consuming, but it often saves time in the long run. Laying elements of an image on top of one another (much like in cel animation) allows us full control of how the artwork is laid out and to keep the balance right. This isn't very different from traditional methods of bringing a finished piece of art together, as many commercial artists employ time-saving methods of tracing and positioning their rough elements together before committing to their final choice of layout. Using computers, whilst giving us greater flexibility, also allows us to save our time and our clients' money.
Step 4: SCANNING
After the inking is completed we scan the inked version at a high resolution into Photoshop, using our large format flatbed scanner. At this stage, we can make adjustments to the line quality, and correct any mistakes we may have made during the inking (hey, it happens - we are human after all). If necessary, we also cut up the inked images into smaller elements, to allow us greater flexibility when manipulating the image at a later stage. All alterations and corrections are made using a pressure sensitive graphics tablet and stylus (we recommend Wacom tablets). This makes sure that we retain the feel of the original hand drawn artwork.
At this point, the process diverges depending on the final use of the artwork: vector or bitmap.
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