Graphite Magazine Issue01 Sample (1)

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 QUARY 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 dierent 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 dierent 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 oers 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