This week: Your hand doesn't bend here.

So, it came up several times this last week with several coworkers, who in my case are artists, that they didn't realize the bones in your hand don't bend in the location illustrated in the title. I can sort of see why someone might think it, so I'm just gonna toss this out there for people. In fact, your bones don't bend at either that line, nor the line seperating the palm from the fingers. The pad at the top of your palm actually comes both a little above and a little below your knuckles. Your knuckles are roughly in the middle of the pad, as you can see in the illustration:

So when you bend your fingers down, the pad, which makes the bones in your palm appear longer than they are, gets bent down. This makes the palm seem to shorten and makes it look like the palm bones themselves must be bending. The phonomenon is easier to understand from the side:

If you really want to prove it to yourself, fold your hand while looking at the back. You will see that the back does not change in length at all.

Knowing that the pad comes above and below the knuckles also helps you draw palm lines more accurately. I can't tell you how many students I've seen draw a hand with the top fold line in line with the knuckles, who then try to fit the lines of the palm onto a palm that's too small to fit them into. It's especially a problem for young artists who draw "realistically", meaning they hatch and shade too much and observe too little. It is a problem 100% of the time for those guys who seem to know how to draw every single gun known to man, in perspective, but can't draw a back three quarter view of a head or a garment that hangs naturally to save their lives. Those of you who have been to art school know the ones I mean.

Oh, and check out this recipe comic from Laura Park! Isn't she the best? That's a rhetorical question, obviously she is, duh.

See you next week!

This week on Comic Tools: Eraser Shields

In the course of penciling comics, sometimes you end up with little distracting lines that you want to get rid of, but they're so close to lines you want to keep that erasing one might accidentally erase the other. It's a common problem when drawing fiddly, intricate things like faces, or as I've chosen for this example, skulls.


My usual solution to this problem is to form a point on my kneaded rubber eraser and use it to erase only the lines I want gone. If you do this, make sure your point isn't long and floppy like this, or you won't be able to press on it hard enough to erase.

Make the angle of the tip as obtuse as you can, and the tip will hold up to much harder erasing before losing its shape.


However some artists, like my girlfriend, press their pencil into the paper like a marine trying to stab through body armor, and kneaded rubber erasers aren't enough. Here's her eraser, worn to a blunted nubble:

How is she to erase single lines with this, without erasing everything around them? That is where eraser shields come in. An eraser shield is just a paper-thin piece of steel slightly larger than a credit card, with holes of various shapes and sizes cut in it. You cunningly select and position the holes to mask off the lines you want gone, like so,

And then erase them.

You have to be careful about checking your placement, though,

lest you remove lines you in fact want to keep:

They really ought to make these in clear flexible plastic for better positioning. It wouldn't be too difficult to make one out of acetate, though. Any material that was thin and stiff enough would work.

Anyway, here's the cleaned pencils,


And heres the skull all inked up:


Sorry I haven't been getting to comments yet, my keyboard is broken and my spacebar has been dead all week. I've been inserting every space by copying and pasting, writing this. I have a friend with a new one, though, so hopefully that'll be sorted out soon.

See you next week!

Scanning Series Part 1: Get an external hard drive.

No, really, if you don't have one, go get one right now. Don't even think of reading next week's entry or any of the rest in the series until you've gotten one.

You'll thank me later, believe me. I have friends who got their external hard drive days before a catastrophic computer failure that would have lost years of work they would have had no way of getting back. I also have friends who lost months of work forever because they didn't have one, or didn't use it.

If you can afford it, buy 2, or use a web-based service on top of the external. External hard drives corrupt and fail too. If you don't have a way to protect your files, you have no business scanning them.

Go. I'd better not see you back here until you have one.

Oh, and check out this nifty little suitcase I bought on the street to hold my originals while traveling! Isn't it just darling? I have some travel announcements forthcoming about my speaking at SCAD's Atlanta campus in late October. My first Comic Tools speaking gig! Woo!

This week: Replacing a crappy panel

Sometimes you just don't hit it out of the park. Sometimes, you lose your balance swinging your bat into thin air and fall over.

When you realize you've just inked a crappy comic panel, and it's not just a matter of a few corrections, it's that the whole thing needs to go, and you can't sacrifice any of the work around it by starting a new page, you have several options, depending on what tools you have at your disposal, and preferences you may have about your original art.

Example crappy comic panel:


If you had a computer, you could just re-draw the panel by hand, scan it in, and change it out, or even re-draw it digitally if you liked. If you didn't, you could just paste a piece of illustration board over it and draw on that. Both work great and are super-easy. But let's say you're very anal about your originals, or you want the original art to look pristine because you're going to sell it, or give it to someone as a present. Although I'm slowly moving out of it, it used to be very important to me that my art look in person exactly like it does in reproduction. I still find it unsatisfying not to, a little bit. So I developed this technique, which as far as I know I invented, for replacing a panel in such a way that's so seamless you can't tell a repair has been made in the page from the front, even looking closely.

I should mention, this technique doesn't really work if your panel borders aren't straight.

So, first, you take a thin pointy thing, like a really thin pin, or in this case, an antique drafting compass point:
You poke a hole at exactly the inside of the termination of the border lines:Then tape a piece of illustration board (the exact same as you're using) over the offending panel, making sure it's a little larger than the panel you want to replace:


If you turn it over you can see the holes in the back of the original:
Now you should be looking at a setup like in Fig.1. (click to enlarge, I'll explain the rest of the Figures below.)

Fig. 2: Then, cut from hole to hole, being very careful to line up your cut EXACTLY with the holes and being very careful with the corners, as demonstrated in the Cutting Technique post last week. The tip of your cutting tool should start and end in the pinholes.

Fig. 3: flip everything over and carefully extract the newly cut replacement square, being very careful of it's delicate edges. Now clear out the old panel, and lower the new panel into place.

Fig 4: You should have a nice, tight fit, because the way we stacked the paper means that the widest paper left by the wedge of the blade as it came through is now the front of our replacement sheet, and the widest part of the original sheet left by the blade's edge is also facing up. If you look at Fig. 2 again, you'll see that those two edges are almost perfectly even. In fact, the'll often meet with just a little puckering, due to the tightness of the fit. If you do this right you can hold the joined edges up to a bright lamp and not see any light through the cut.

Fig. 5: Finally, you tape the back seam or as I prefer, seal it with a sheet of thin cotton marker paper backed with archival adhesive film. Then buff the edge with a bone folder to flatten any puckering, making the cut edge look like an uninterrupted sheet of paper, and forming a smooth surface you can actually ink over. That's right, you can INK OVER the cut and it won't bleed into it, it's so tight. It feels exactly like drawing on a new sheet of paper, which no correction fluid or patch could ever do.

If you're totally accurate, the seam will lie on the panel border inside edge, and you'll never be able to find it without a microscope:

I actually messed up a border, however, which is good, because you can see what it looks like on open paper:
I marked up the edges of the new panel with HARD pen strokes, to show how it won't bleed, even in the exposed part of the join:

It feels like drawing on a brand new sheet of paper. Unless someone looks at the back, they'll never know the difference.

The back, taped:

(Not my preferred method, but it works. Just make sure what you use is archival.)

Here's the excised panel sitting next to it's replacement:
Next week, I kick off a multi-part series about scanning technique. This and my anatomy tutorial are gonna be the big ones of this whole endeavor.

This week : Cutting Technique

My High school, Hebron academy, located in rural Maine, was and is the only private school with a dedicated Outdoor education program. I spent seven seasons in the program. The first month was always the same, an intensive month of wilderness first aid training. Once we knew how to handle any emergency that might happen, we headed out to the outdoor workshop area to start learning our tools, and the first thing we learned was knife safety. Everything in knife safety is all about leaning how to use your knife in a way that will prevent harm to you and others. Rules about always cutting away from yourself, how to grip a knife and how to walk with it are designed so that if you slip, fall, or make some other mistake the knife's working end won't wind up in your fingers or torso.

When I went to college my friend Jordan, an accomplished graphic designer, taught me everything I know about cutting art materials. Cutting for art creates a whole new set of demands- not only must you not cut yourself, you mustn't damage what you're working on, either. Mistakes of less than the width of a pencil line can totally ruin some projects. Mistakes can be expensive, depending on the material you're cutting. If you make a mistake while trimming a book, you've ruined a copy of that book. Jordan taught me how to cut absolutely straight lines with a minimum of accidents, and it's one of the hand skills that's served me best throughout the years after.

The modern cartoonist has all sorts of things they might need to cut. You may cut down your own paper, and you need to be able to measure accurate right angles off the edges and run it through a printer without jamming. You might be fixing a badly drawn panel by cutting it out and replacing it with new paper. (I'll teach you that next week.) You might have to face-trim a stack of books by hand for a convention. You might need to trim matte board for a gallery show, or you might be making a sketchbook for yourself. Good cutting technique is essential to all of these tasks.

I'll start off by pointing out the most common mistake: lining up the cut by lining the ruler edge up over the line, and then lining up the cutting tool tip with the edge of the ruler:


This a recipe for an inaccurate cut. The actual tip of your cutting tool isn't exactly aligned with the side of the cutting tool, so to get the tip to line up with the ruler edge you have to angle the cutting tool at the grind angle of the cutting edge, like you see above. Even if you manage to somehow keep the blade in that position for an entire cut, you'll be creating torsion forces on the blade and on the paper, causing ragged edges, increased edge dulling and blade breakage, and increasing the likelyhood you'll catch on a slightly denser patch of paper and whong off in a bad direction because of all the force you're applying dragging a crooked blade through the material.

But chances are you won't keep that angle consistent. You'll feel all the stress you're causing and change your angle as you go. You may even follow the ruler edge but angle out the other way, like so:
What you need to do instead is place the side of your cutting tool flush against the side of the ruler, and see how far the tip is from the side, and then put the ruler that far away from your lines. That way, the tip will fall exactly on the line with the side of your tool butting against the ruler as a guide, and the cutting edge looking straight back at the line it's about to cut like a laser beam. (By the way, this is exactly the technique you should use for making accurate pencil lines- not lining the tip up with the edge, but instead moving the ruler so that the sides touch the ruler and the tip touches the line. Ever draw a pencil line with a ruler it found out it wasn't straight? You didn't do this.)
It's important to stay vertical, in case you have to stop the cut for some reason and resume it again. If yyou change angles at all, this will happen:

The change in angle means you'll start cutting a totally different path, possibly cutting off too much or too little material. Check to make sure you're keeping the blade square with the ruler on every axis, and your cuts will be consistent every single time. No more going back for a second pass and peeling off a thin curl of paper because it wasn't quite lined up with the last cut.

If you click on the photo below to enlarge it, you'll see the terrible gap left by a cut whwre the blade changed angles as it went. You can't measure off of it, and you can't use it for construction, because it won't marry with another edge. If you cut too much off this edge instead of too little you'd have to throw it away or toss it in the scrap pile, at your cost.

Contrast it to the edge cut the right way, which fits pretty snugly. (There are a very few small gaps, because I was wearing my face rig and it was distracting my cutting.) By the way, I really prefer the NT cutter I reviewed for making straight cuts. The wider blade makes it easier to follow the ruler, and the ergonomics of the handle better accommodate long, straight cuts.

Here you can see it leaves an edge so gapless it looks like I put the paper under the ruler instead of next to it:If you draw a line you want to cut with a pencil you can't just keep the ruler in the same spot and make the cut. Why? Because the distance between the sides and tip of your pencil is probably pretty different that that of your cutting tool. You can see how far off it is for me:

You need to do the alignment first for your pencil, and then again for your cutting tool. Here we are all readjusted nice and flush:
Now let's talk about cutting a corner. Sometimes you can keep cutting past the corner because you're going to throw away the excess anyway- but sometimes you need that corner to stop neatly right at the exact point where the lines meet.

In that case, you need to make 2 cuts starting in that point and cutting away. CAREFULLY start by putting the tip exactly on the point and cutting yourself a short slice, making sure you never cut past the point. Once you have a nice, safe cut back from the delicate point, you can proceed as usual. on that side. Then do the same for the other side.
While doing this part of the demo I actually made a mistake and didn't tip-check the line like I should have trusting my eyeballing, and look how far off I was.:
I made the rest of the cut correctly to show how bad a mistake this was. If this was a project meant for display it would have been ruined because of my carelessness. Always, ALWAYS check to make sure the tip of your tool is on the line, at both ends of the line. Actually touch the tool down and check. If you think that little extra time is frustrating, try ruining a tedious project and having to start all over.
Ergonomics is an important consideration in making accurate cuts, especially long ones. You should never cut directly in front of you, because as you draw your hand back your wrist will be put into a terrible position:
What you want is for your wrist to be able to stay in the same position through the entire cut. You can cut down on the side of your cutting hand, like so:
Or you can cut at an angle, pulling down towards the side of your cutting hand, like so:
Either one will allow you to move comfortably. If your light is blocked by your hands in either of these positions, move the light if you can.

Now let's talk about cutting stacks of paper, like when performing a face trim on a minicomic. Never is is as important as with this task that you maintain the same square angle with the blade, as you will be making many cuts, all of which need to be the same.


The temptation when cutting a stack of sheets (or thick material like foamcore) is to get through it as fast as possible with hard, deep cuts. In knife training you learn that the more force you apply, the more risk of accidental damage to yourself, and with art cutting more force means more chance of accidental damage to what you're working on. (and yourself.) What you want to do is make your cuts with fairly low pressure, and work on keeping them as straight and accurate as you can. Imagine a laser slowly eating through the hull of a very thick spaceship, making one pass, then another, then another, forming a clean edge.


Inaccurate cuts will lead to curved, frayed edges like this:

Here's a copy of my comic Out Of Water, face trimmed properly. See how all the pages are straight and flush? (For those of you wondering what face trimming is: When you fold a stack of paper into a book, the center sheets bulge out and make it very hard to flip through, plus it looks ratty. Face trimming is cutting off that excess.)
The final consideration when cutting is what side to place the ruler on. Usually you have a side with stuff you want to keep and stuff you're trimming off.
Knife safety assumes that accidents will happen, and they do, even to very experienced people. Knife safety therefore works to minimize the damage of an accident. You can use your ruler to minimize the chance of damage to the stuff you want when you cut by physically protecting it should the ruler veer off for any reason. Always place your ruler over the stuff you want to keep, like so: This will prevent this from happening:

Now, sometimes you want the stuff on both sides of a cut, and in that case you'd just better follow all my other advice really carefully and hope for the best.

Next week, I'll demonstrate a technique I invented for replacing panels that's so seamless it's almost impossible for someone to tell where the original was cut, unless they know what to look for.