mermaid-rococo-susan-szecsi

REDOING SOME INKTOBER DRAWINGS

 It is not only writers who redo their works, artist revise a lot too. Some projects just never become reality. I have a bunch of ink drawings from a a planned coloring book. The theme is late baroque or rococo fairytale world. The first pieces were born in the fever of Inktober, back in 2015. The pages got printed and pinned on  my wall recently, and I have spent hours staring them.As they were drawn during about three years, they might have more differences than I would find ideal. I felt stuck. They are way too precious to throw them away, on the other hand, I feel they need a significant amount of work, to be published as a coloring book.

Then I had an idea… what if I color some of them? The “coloring” of course quickly turned into a reinterpretation of the original drawings.

I am blessed to be a member of some critique group, so below you can see the metamorphosis of the illustrations. I will share my thoughts and feedback from the critiques so you can have a better understanding of how I work. It might help you  to experiment with your own art.

The original coloring page:The Little Mermaid's Dream

Referencing ancient Greek mythology the young mermaid has two fishtails. She is lying in a small circle garden, embellished with baroque style decorative vegetation, flowers and tendrils.

Mermaids, or sirens as the Italians call them, icons of ancient goddesses. You can often see them drawn as half birds or angels for the upper body and fishtail(s) for the lower part.

A siren  is a carrier of the archetype of the feminine divine. It all makes her into an ideal guide for journey of the soul. It is very telling that many centuries later we are still fascinated by them.

Changes 1st round

First, I grabbed my crayons, but I did not like any of the versions as I tried to color the intricate pattern. I decided to reinterpret the piece. I quickly came up with the limited color palette.  I got rid of the circle that originally “hold” the vegetation and added four guards  at the corners. Still I felt it could be improved.

Above the three versions that I showed to my fellow illustrators.

Thoughts and critiques

First, very smart question was,” who is the target audience?” Where could I see this piece used. Some suggestions were middle-grade, YA covers or stationary. I agreed, my plan is to create some patterns based on this ilustration and show how it can be used on different products.

Animals, especially the octopus in the corner look like real animals enough so I should fix some of the awkwardness on them. They do not look “imaginary” enough to overlook these small issues. I concluded, it is time to look at some references.

When somebody had it before you...

They also noted the the little girl looks too much like the Starbucks logo. I defended my point of view, arguing that it was based on Melusina, a mythological character, and the first  depictions were from the 7th century Italy or even earlier. However, I had to accept that for the general American public it would always resemble too much to the coffee empire so I’d better to change it. 

As for the colors, the dark blue background was the winner or perhaps the orange could work too, but with some blue behind the pool-garden. 

Nothing was mentioned about the scales, but eventually I thought they are not adding to the design at all, they made the illustration unnecessarily busy. I’ve already had intricate details in the floral pattern, there is no need to add more pattern or texture.

Final pieces after the changes

jacket design for yes i can listen

THE MAKING OF A PICTUE BOOK

With beautiful, full-color illustrations and fun, catchy rhymes, Yes I Can Listen!, written by Steve Metzger and illustrated by Susan Szecsi, encourages children to develop attentive listening skills. Read below for an interview with the talented Susan Szecsi, as she dives into her illustration process and reveals her favorite techniques and inspirations. Be sure to check out the activity packet that goes along with the book as well..

TOTO’S STORY, SKETCHES and STORY MONSTER INK MAGAZINE INTERVIEW WITH STEVE METZGER

One day, after watching the movie for about the hundredth time, I wondered that what Toto would make of this wild adventure.That was all I needed to get started.

Here are some initial thumbnails and sketches how I created the characters

Tin Woodman was the most interesting and also the most challenging to draw. The original Wizard of Oz book was written more than 100 years ago, still most adaptations are faithful the first woodman illustration by W.W Denslow. I wanted to use a bit more modern , more robot-like version, that is still recognizable as the Tin woodman.

Fun fact: L.Frank Baum, loved to craft, especially liked window displays. From various scarp metal pieces he created a figure that resembles to Denslow’s Tin Woodman. Baum’s figure had a body from a wash boiler, limbs from stovepipes, and a sauce pan served as face with the iconic funnel-hat on the top of the head.As I thought the funnel was the most iconic element I kept  it, but everything else got a bit updated more contemporary look. Next to the sketches you can see my own comments.

Toto’s Story was published by Scholastic Book Club in 2018

The final, printed book’s interior

White Rabbit Baby sketch

WHAT MAKES CUTE CHARACTERS

Some thoughts and practical advice on what you should keep in mind when designing cute characters.

Cuteness and Human Instincts

One might think what you find attractive or cuddly is very subjective, depends on personal taste.

However, cuteness in general mostly based on our instincts, our animal-self. We are wired in a way that we find baby or toddler proportions and expressions of shyness cute and adorable. We feel babies need to be cared, cuddled and saved. One key feature of surviving as species.

Some easily noticeable features of babies are:

– huge head, compared to the rest of the body I real life a baby’s head is approximately a quarter of his height.

– relatively big eyes, small ears, small nose

– notice the place of the eyes nose and ears on the lower part of the face. (If you draw an imaginary horizontal line approximately in the middle of the head, that is where the eyes are sitting.)

– roundish face soft and roundish limbs and body

Reasons for Exaggeration

In character design, cartoony, realistic or 3Ddesign, these are the features we exaggerate even more to get the audience’s “aaw”.

One of the most popular proportions for cartoons is the half’s rule. It means the head of the character is a half of the height. The body and legs share the rest. You can play a little bit with the body and legs, sharing the place evenly or making one or the other bigger. Juts for comparison, if we draw a realistically proportioned adult human, the head is somewhere between a fifth to an eight of the height.

Expressing Age with Proportions

Designers, illustrators, animators have a good reason to enlarge the head at an almost ridiculous scale.

While when I design a character almost always start with a light scribble of the whole body, looking for a pose that expresses the personality, human or humanized animal characters’s face conveys too much information to neglect. Facial features and expressions have a priority when designing characters. Remember, how we “read” each other’s faces when having a conversation. The smallest unconscious movement of the eyebrows or little tremor of the lips a shake of nostril can give away us. How the lack of this information when we do not see the others leads to misunderstandings in correspondence or sometimes even when on the phone.

Scientist say the mother’s face is the first thing that a baby recognizes.

Here are some doodles to show humans with the half -half proportion. In spite of the fact the all the characters have the same size heads as the baby has on the left, he looks like a very young little fellow, a couple of weeks or months old only. From left to right, it is not difficult to tell the age of these little guys.

What makes the first character look so much younger and the others older?

One key factor is where the eyes, nose and mouth are situated. See the purple line halfway of the baby’s head. The eyes are slightly under it. Also notice the curvy lines, short limbs and cute bean-shape roundish body.

Placing the eyes slightly higher on the face, the next little guy he looks older as he is wondering what his older brother doing with the measuring tape. Notice the measuring little fellow’s eyes, they have higher position, face is less chubby and he has slimmer body. Next to them, the boy with the football looks about 9-12 years old. To demonstrate that it is possible to draw even adults, keeping the same proportion, I made a young man and woman too. Their heads are slimmer, though still same length, notice how their bodies are proportioned closer to an adult’s.

Apple in My Eyes, Add a Little Spice

Another example can be the pretty redhead sitting on an anvil holding a welding equipment. She has large head, huge eyes, with big pupils, small nose and lips. Pupils, also play an important role in character design. They can change size from 1.5 mm to over 8 mm depending on the light or darkness around us and also according to the emotions we feel. They get smaller when we are afraid or angry and extend when we are excited, happy and when in love. Large pupils mean experiencing positive emotional stimuli, no wonder we find them attractive.

The redhead’s face is somewhat Disney type cute and innocent. To make the girl a little bit more special, spice her up, I decided to tattoo her. Not wanting to use the most popular cliches (rose, heart, skull) I went for a motif from an older sketch of mine. So she got flowers and an octopus wriggling on her arms.

A Handy List to Summarize

Here is a handy list about what you need remember to create a cute human character:

Do not forget to start with the pose and the general shape of the whole character, then you can work on the details.

– big head, big eyes, (big pupil)

– small nose, ears and mouth

– roundish shapes, the younger the character the more roundish it is in general

– avoid pointy or sharp shapes

– to express age watch the proportions on the face (high forehead, keep eyes under or around horizontal midline)

– watch proportions of the body

– find something to spice it up (tattoos, clothing, props, weapon, jewelry, something unexpected or funny, something that adds extra flavor to your character’s personality

There are certainly many other versions of lovable characters, what I showed you in this short intro is just a few examples of them. In the next part, I am going to bring examples to show cute animals or other creatures.

Thank you for reading. Please feel free to comment or ask questions.