A Dungeon of Little Dragons

A Dungeon of Little Dragons

My graphic novel characters from left to right: Pierre in his red robe and black cape with gold trim, Margo hovering as her barn swallow self near Canicula's nose, Canicula smacking his mace against one hand while decked out in sumptuous furs, and Lebeau, charging in from the right in their secondhand armor.

‘Fieschi Psalter’, Cambrai ca. 1290-1295.
Baltimore, The Walters Art Museum, Walters Manuscript W.45, fol. 256v

Fox Dragon
Reynard? Is that you? You look a little different. A little foxier than normal. Please don’t tell me you’re the harbinger of the Revelation. What would Ysengrim think?

 

 

Digital artwork of an emu-like dragon, with a sheep's head on a long neck attached to a blue body with white spots down its back. It has a furry tail. The legs are gray and stripy with fur covering the toes and heels. A little spig of flowers springs from the heel of the dragon.‘The Maastricht Hours’, Liège 14th century British Library, Stowe 17, fol. 182v

Sheep Dragon
Leg warmers were a thing 650 years ago, I swear.

 

 

Luttrell Psalter, England ca. 1325-1340. British Library, Add 42130, fol. 178r

Lion Dragon
Look, sometimes an apex predator rocks the soft baby pinks and blues. There’s no reason to get mad about it. It’s almost like someone got the description of a lion spot-on right up to the shoulders and then gave up. Whatever — do you know how many people will leave the abbey to go look at a lion way down south in person? That’s right. Not many. So lions are pink and blue now, and they wear comfortable hats. Deal with it.

 

Re-draw of a medieval illustration of a long, snakey green dragon with red lion paws and pink wings with stripes. The dragon has antlers and flowers for a tail. On its head is an extremely phallic hat. There's no getting around it.pontifical, Avignon ca. 1330-1340
 Tours, Bibliothèque municipale, ms. Diocèse 8, fol. 59r

Hat Dragon
I have so many questions about this dragon. One of those questions is not what the hat is supposed to be. I don’t want to know anything about this dragon’s hat. Instead, I will focus on this being the world’s tiniest dragon obsessing over its hoard of a single copper penny, which telekinetically floats nearby.

 

 

Digital artwork of a large, purple, four-legged dragon with human feet sharing an even purpler tongue with a yellow winged cat dragon. The purple dragon has six extra heads in its collar and they all look like they're whining. It's also wearing bunny slippers on its back feet. Its front feet have weird sandals that blend into its skin. The cat dragon, meanwhile, only has one extra head, which is on its long winding tail, and that head looks really annoyed.

Beatus of Liébana, Commentarius in Apocalypsin, Astorga 12th century
BnF, Nouvelle acquisition latine 1366, fol. 106v


What is Even Going on Here?!??

This must be the end of the world. That’s the only explanation I have. I didn’t feel like drawing the Schmooze in the corner there so this dragon gets a comfy pair of slippers.

Comics Tip

Designing a Dragon
Say you’ve got a story that calls for a dragon. The first thing to do is figure out what function that dragon serves in the story. Is it a pet? Is it a steed? Is it a friend? Is it a foe? Is it a wild beast? Is it bigger, or smaller, than a breadbox? Can it speak or coexist peacefully with humans? Does it represent something beyond being a mythical creature, such as the greed and cruelty of mankind, or the vengeance of the natural world?

Or do you just want a dragon that looks super cool*?

*Dragon ‘coolness’ as the result of this exercise may be subjective!

Digital artwork of three possible dragon silhouettes. The first is serpentine with bat wings and a snake tail, with little tiny paws and feet. The second is an upright armadillo with an ankylosaur tail. The third is some sort of bird with four wings and a feathery tail and frills on the head.

Step One: Silhouettes
Regardless of how big your dragon is, the first thing you’ll want is a Shape for it to fit into. Grab a marker and scratch down some rough poses and proportions for your dragon. Don’t worry about details at this point, just get a broad picture of its shape and size. Try to think about how the dragon would move. Maybe it’s very agile, or more of a tank. Can it fly? If not wings, include a visual of how it alights in the air. If it’s a more literal animal, it will look a bit different than if it’s the figment of a child’s imagination. Same for magical beasts having more leeway for fanciness and silliness than most real-animal analogues for dragons.

Digital artwork of three possible dragon heads, rendered as black scribbled silhouettes. The first is a smooth reptile. The second is more horselike with bumps and ears. The third is clearly a beaked creature with a feathered plume.

In addition tvo the overall body, it pays to figure out how the dragon’s head will look. Is it capable of expressing emotions, or does it need to express emotions within the story? Are its emotions clear or are they buried under the complexities of being a different species from humans? Explore that.

Digital artwork of one of the dragon silhouettes, with the armadillo body and beak head as our go-to. The dragon has been rendered three times, sporting a horn and T. rex claws in the first, fins in the second, and lots of wings and feathers and raptor claws in the third.

If you have a head shape and a body shape that you like, explore spines, fins, fur, and hair. Maybe the dragon has many limbs, or an unusual tail.

Digital sketch, done very quickly, of a comic page containing a dragon. It has three panels: One with a dragon trotting through the forest. The second panel is a closeup of the dragon's eye spotting something. The third panel is a breakout panel of the dragon discovering a baby and picking up, so it's a good thing I designed it to have opposable thumbs.

Step Two: Try it Out
My controversial take is that it pays to see if the overall shape and size of the dragon works in terms of the comic prior to doing any detail work outside of the silhouette. Try drawing the silhouette version next to characters and in environments you have planned for your story. This is also why concept art sometimes looks different from the actual comic. I think it’s important to get a sense of how the big parts of the creature function in the story prior to working out the finer details.

 

Step Three: Integument Refinement
While still thinking about how your dragon works in your comic’s world, experiment with showing how it sees, smells, tastes, and touches the world. A zoo is an excellent place to scope animals and observe how they’re built and how they move through the world.

Various photos of different scales. A lizard, an armadillo, an eagle's claw, a grasshopper, a betta fish, and a pineapple are all examples of scales that would look interesting on a dragon.
For instance, a dragon is not limited to reptilian scales. Check out some mammalian, avian, insectlike, and fish coverings, too. Maybe even plants!

Photos of the following animal attributes: A big eagle's eye, a dog's paw in a human hand, a skull of a theropod dinosaur, and whiskers on a white kitten's face.
Can your dragon see in the dark? Its eye shape will be different depending on how it senses the world around it. Think about its other senses. How sensitive is its skin? A large nasal cavity means it might be able to sniff prey from a long way away. If it has whiskers, maybe it loses its balance from losing those whiskers, like a cat does.

Photos of an alligator's closed mouth with tons of teeth sticking out, as well as a bear's paw with long black claws poking out.
How does the dragon protect itself, and what does it eat? This will affect tooth and claw shape, and whether it can grasp things like humans can.

Photos of fire, a field of white flowers, a big towering cloud, and the purple reaches of outer space with tons of stars.
Is the dragon ethereal? Maybe it has primordial elements mixed in, such as fire, flowers, clouds, or stars. Each body part tells a story about the rest of the creature, but it doesn’t necessarily have to be ‘realistic’. It’s a dragon, after all. Have some fun for once in your life, gosh.

Three possible color schemes for my dragon design. For my overall silhouette I chose an upright armadillo dragon with feathery wings, a hairy chest, feathers on its claws, a beaked face and horn on its nose. Color scheme one is monochromatic blues, number two is yellows, greens, and oranges, and the third one is a pale grey dragon with red eyes and black tongue.

Step Four: Color!
Depending on what the rest of your comic looks like, you will need to decide whether your dragon sticks out or blends into the background. Stories involving dragons as ‘alien’ or ‘other’ may opt for brightly-colored dragons. Sneaky dragons will need camouflage. Pet dragons might be more likely to have specific color morphs, like the ones seen in snake or pigeon enthusiast communities.

Step Five: Revision
At any point in the process, a change might need to be made to the dragon’s design. Most changes simplify a design so that it’s easier to draw and color over and over again. Better to do that early before the dragon exists in dozens, if not hundreds, of panels. I personally find it more difficult to edit a design the further along it is in development. That’s why having extra versions of the design lying around are so useful. Those can offer easier solutions to big problems that come from an extreme revision to the design at the end of a project.

So there you go! There’s really no wrong way to go with a magical dragon because it doesn’t exist in the first place!

Creative commons dragon reference photos generously provided by pixabay.com.

Care to read more?

Amphiox, Continued

Amphiox, Continued

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So I Went Adventuring…

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Amphiox Monthly Challenge: Complete, but Not Finished

Amphiox Monthly Challenge: Complete, but Not Finished

I Completed a Monthly Challenge!For the month of August, I pledged to 'rough' 48 pages. Roughing a comic means to start drawing in the figures and backgrounds of each panel. Roughs are typically more polished than thumbnails, but they aren't necessarily polished. As I...

Want to chat about this?

Ode to Titivillus, Patron Demon of Typos

Ode to Titivillus, Patron Demon of Typos

Digital artwork of the tiny blue demon, Titivillus. It is the size of the brass inkwell on which it perches. It's blue, covered with fur, with long ears, little horns, a long nose, and a devilish grin. Its wings are white with blue edges and red pinions. It wears a red kilt with a bit of paper tucked inside. It holds a feather quill that is taller than itself in its claws. Text on a ribbon swirling through his pose: To err is human and I'll hlep [sic]". Books are stacked behind him, but they are tiny books. Demon's books.

“I am a poor devil, and my name is Titivillus. I must each day bring my master a thousand pockets full of failings, and of negligences in syllables and words.”
-Adapted from Myroure of Oure Ladye

I’ve been charmed by the idea of a patron demon of typos for quite some time. From the way Titivillus is referenced, I can’t help but feel there may have been some cheeky humor or warmth involved when invoking its mischief. “Drat! I wrote an ‘e’ instead of an ‘a'” seems more in-character than screaming and damning this little demon outright. The kind of curse you’d throw at a cat or other pet known for treading through wet ink before the words are set. This is only conjecture on my part, of course: The culture, opinions, and thoughts of a monk would be difficult to pin down unless they directly wrote them out.

Photograph of an aged fresco of Titivillus tormenting gossiping women and recording their words on a long parchment. This fresco is found in the St. Michael and Mary's church in Melbourne, England.

When I decided to do an homage to this paranormal frequenter of my own work, the above rendition popped out to me as ideal for adapting into a cartoon portrait. My interests skew towards 12th and 13th century and this immediately seemed more in-line with my personal aesthetic studies. In general, I can vaguely guess at an image’s age based on a few interesting features.

The feet
Byzantine demons are typically drawn with bird’s feet. The hoofed feet seem to be a conflation with the fauns, satyrs, and Bacchanalia-influenced renditions of demons from later centuries.

The teeth
Demons from this time period are typically drawn grinning. Americans may mistake these grins as friendly, or cheerful. They are not! They are hungry grins, angry and ferocious grins. Medieval Europeans didn’t bare their teeth like this to smile.

The line quality
12th and 13th century images typically have thick, lyrical lines composing their characters. Perspective and other underdrawing construction techniques are largely ignored. If I had to guess, this would be to accommodate art direction that could be applied easily by artisanal guilds, such as bookmakers, fresco painters, and weavers. Some artists did have individualized careers and specific styles to their work, but many were working with guilds overseeing them. This is just my guess, though.

The work shows the Catholic Monarchs, Isabel I of Castile and Ferdinand II of Aragon, together with the Virgin of Mercy and the following characters: Prince Juan de Aragón (1478-1497), the first-born son of the Catholic Monarchs. Infanta Isabel de Aragón (1470-1498), sister of the previous one and queen consort of Portugal. Infanta Juana (1479-1555), who would come to reign in Castile and Aragon as Juana I. Cardinal Pedro González de Mendoza (1428-1495), Archbishop of Toledo and Major Chancellor of Castile. On the right are six nuns dressed in the Cistercian habit and praying. And next to her appears an abbess with her crosier who has been identified with the sister of the said cardinal, Leonor de Mendoza, who was abbess of the monastery of Las Huelgas de Burgos between 1486 and 1499.

My other option was the rendition of Titivillus up in the right corner of this much later fresco circa 1485. Interesting here is that the demons still have bird feet, but the line quality and underdrawings are quite different from 12th and 13th century art. Still not much perspective going on. But, you can see the attempt at making more lifelike shadows and textures on the figures. I wasn’t enamored with this rendition of Titivillus (the skin tone is a bit problematic) but I did enjoy its stylish shorts. The bundle of books tied to its back also appealed to me, so that’s why a bundle of books appears in the background of my image.

Comics Tip

The Devil in the Details

While researching 12th and early 13th century artifacts I fell in love with this inkwell attributed to somewhere in Iran. I could easily imagine a European writer purchasing something like this in a marketplace and cherishing the zodiac-inspired designs. The glaring problem for me, as the artist: How do I replicate the incredible design work I see here, without pledging myself to its embellishment for weeks and weeks?

The solution is…to zoom out. The human eye wouldn’t perceive the designs on the inkwell at this distance anyway. Problem solved!

Tiny digital cartoon of a little Titivillus doodle perched on top of a decidedly plain-looking inkwell.

…What? That’s not what my illustration looks like? Okay. Fine. The original graphic is quite zoomed in, so the detail on the inkwell would be visible. I want the contrast of the fiddly details compared to the simpler design of the character, so what I do is…

Screen shot of the Layers panel. It portrays layer settings described below.

I set up a new layer, and I turn the ‘fill’ to 0%. I set up a ‘stroke’ style to this layer at the same size I use for the rest of my artwork.

Screenshot of the Layer Style menu. It has a 'stroke' effect applied at 5px. The position is inside, blend mode is normal, and color is black. Opacity is set to 100%.

The lack of antialiasing can look a rough up close, but it prints perfectly clean. These are also starter settings, so mess around with them until you find something that fits you or the artwork you’re detailing.

Screen shot of the Layers panel. It portrays Outer Glow effects designed to look like uniform outlines on a layer set to 0% fill.

Depending on the dpi and width of your linework, you may want to use ‘outer glow’ for your outline instead. Here are some starter settings for some sweet outlines with anti-aliasing to smooth them out a bit more. Mess with them until they suit your project.

Blank inkwell lines for decoration. It has a fancy domed lid and perches on little nubbly metal feet.

Time for some ink-on-inkwell action. What would you like this inkwell to look like? Detail it!

Digital lineart of Titivillus. Titivillus perches on an inkwell while holding a quill as big as they are. The ribbon twining around Titivillus's form is blank, ready for any sort of motto a colorist might like to apply to it.

Or, if you only feel like coloring, here’s the free-to-color lines including Titivillus (Via CC BY-NC 3.0 license). Put whatever slogan you like on the ribbon.

Care to read more?

Amphiox, Continued

Amphiox, Continued

Defining Steps in a Personal Production PipelineMy Amphiox short comic is an exercise in art production. Up until I attempted it, I'd never really done much longform comic storytelling. Most of my practice was in one- or two-page micro-stories. I chose 48 pages as a...

So I Went Adventuring…

So I Went Adventuring…

Lady Sigrid von Eisvogel"Lady Sigrid von Eisvogel of Gürtelfischer Manor (she/her) is an adventuress who has gained some notoriety as a skilled and fearless swordfighter in recent years. Her origins are somewhat mysterious. While she is more than happy to talk about...

Amphiox Monthly Challenge: Complete, but Not Finished

Amphiox Monthly Challenge: Complete, but Not Finished

I Completed a Monthly Challenge!For the month of August, I pledged to 'rough' 48 pages. Roughing a comic means to start drawing in the figures and backgrounds of each panel. Roughs are typically more polished than thumbnails, but they aren't necessarily polished. As I...

Want to chat about this?