Painting of Blake and Mortimer : la vallée des immortels.
This is step 2 of the enlargement work I started from the Blake and Mortimer comic book: The Valley of the Immortals. The original album is at the bottom of the image above to give an idea of the original scale.
I want to use the entire 24 × 36 canvas space starting from a standard size comic book. I must modify the scale by adding an extra 10% to the height. However, when comes the time to draw the perfect circle located at the top left of the album, a standard 1:1 scale must be used so as not to transform the faces of the two heroes who are looking at us from the front. A painting made with two different scales does not produce a true copy, but it is still acceptable and realistic.
Trying to match an album’s original colour often requires mixing four different colours or more. Experience has shown that any newly created colour should be allowed to dry for several minutes on another canvas to ensure that it does not deviate too much from the desired colour, because it darkens when it dries. Mistakes are inevitable, however…
It looks as I will complete the canvas within the next few months, providing I work a few hours each day.
A third and final article will be published when the painting is completed.
Acrylic painting in progression of Tintin and the Black Island.
Welcome to the second and last part of Tintin and the Black Island. The photo above shows the clouds almost completed. The yellow sky was a problem, because once on the canvas, the color became too dark as it dried. I had to find a recipe for a lighter yellow than the one on the original cover so that as it dried the color would get darker and match the color of the album.
Details of the castle of Tintin and the black island.
The photo above shows the progression of the castle and the island, but this time with the birds as a bonus. Hergé drew a lot of black birds around the castle, which adds to the sinister look of the place. But he also thought of drawing two larger birds in the foreground, of which one seems to be heading towards Tintin.
Painting in progress of Tintin and the Black Island.
The painting is progressing rapidly. I have already worked on it for about a hundred hours to get to this point. The sea has received all its touches of black paint to form the appearance of waves.
Scale copy of Tintin and the Black Island.
The picture above gives an idea of the size of the painting. The painting must often be placed on a table to paint the elements that require great precision.
In the background of the photo, a journalist from the Canadian news channel RDI is seen on television. He is commenting on the street blockage situation in Ottawa by truckers during the Covid-19 pandemic. The protesters fight for their rights, but do not respect the rights of the citizens of Ottawa who, for weeks, are trapped in their neighborhoods. The Canadian government finally put an end to the situation by invoking the Emergency Measures Act with the added bonus of a $306 million lawsuit brought by residents against the protesters.
24×36 picture of Tintin and the Black Island completed.
Above is the completed painting. You will notice that the white tones of the boat differ on the back and side. There is white combined with black and a touch of yellow for the side of the boat, rather than the pure white required for the back. It took some experimenting with colors to finally realize the need for yellow.
The waves flattened by the boat are now just rounded bubbles behind the boat. However, on the sides, the appearance differs because the movement of the boat breaks the waves: Hergé therefore ensures a different treatment of the foam. He thought of everything, as usual!
It is now time to move on to another project. I am not sure yet, but I am thinking of “Blake and Mortimer” these heroes of Edgar P. Jacobs, a great master of the clear line style who initially worked with Hergé.
Glénat just published a book titled “Edgar P. Jacobs le rêveur d’apocalypses”, if you want to learn more on the subject…
In the photo above, you may have recognized Tintin dressed as a Scotsman as he faces the evil Dr. Müller. These two characters are from the comic book Tintin and the Black Island. A majority of French speakers probably read this album in their youth. And, even as adults, some of us (myself included) have revisited this work by Hergé to get a fresher look at the album.
The restrictions and confinement of the Covid-19 pandemic allowed me to devote more time to drawing and painting. I decided to copy the cover of the Tintin album “The Black Island” using acrylic.
The scale drawing of a Tintin album is close to a 2:3 ratio and so the 24″ by 36″ format was almost a perfect fit. Below, you can compare the difference in scale between the original book and the drawing in the making.
Pencil and scale drawing of Tintin.
A 2H graphite pencil for drawing on canvas will require less dedication when it comes to erasing the most obvious strokes and laying down the paint. The one I used (HB) was too dark and required more work than expected.
Reproducing a Tintin album leads us to progressively notice the genius of Hergé, this Belgian creator. We linger on his editorial choices, the composition, the angles. Drawing the rocks of the Black Island and their shadows is, in this respect, very revealing.
24×36 drawing of Tintin and the black island
In the photo above, Tintin is heading towards the Black Island. We can feel him anxious, hence his slightly forward-leaning posture. He scans the island straight ahead. Hergé could have drawn him straight on his boat, confident. He chose to position him as an observer of a problematic situation. Similarly, Snowy looks at us with a worried expression and we have to repeat his expression exactly so as not to change the atmosphere of the scene.
Still missing are the black birds around the island, one of which seems to be heading straight for Tintin. You will see them in the next article: they are numerous, black and do not seem very friendly.
The sky, meanwhile, is not covered with pretty cumulus clouds but rather with streaky, tapered clouds invading the horizon, many of them dagger-like. Placed obliquely across the cover for added dynamism, Hergé also gave them a slightly circular shape.
The sky is painted first on Tintin’s picture.
When painting the letters, one realizes the editorial choices of Hergé. Several of these features require attention, including the letter “O” which is not round but oval and leaning to the side. Also, Hergé aligns the two words of the title to the right and this has an impact when calculating the spaces between the letters.
In trying to reproduce a color exactly, one must make several attempts to discover the recipe. Often, three or four colors are combined to achieve a satisfactory result. And when we are satisfied with the tone, a surprise awaits us: once placed on the canvas, the acrylic paint changes color and becomes much darker as it dries. Trying to predict the result after drying is therefore a must.
