Graveyard Shift 04 - Lauren's Car

Visual arts convey a LOT of info via clothing and props. Off the top of my head, I can think of a few things that Lauren's clothing and vehicle can tell us:

• She wears scrubs, so she's some kind of medical professional from the latter part of the 20th century to present.
• If she were a nurse in the 1940s or 50s, she would be wearing one of those sexy nurse costumes.
• If she were dressed like a nun that would put her sometime after Florence Nightingale revolutionized nursing (mid 1800s) to early 1900s.
• Also, I put her in tennis shoes ("trainers" for you blokes across the pond), that shows she's on her feet all day and values comfort and utility.
• She drives a car, so:
• We know that she's not in the wild west (or some other time period).
• She's not riding in a Model-T, so that moves the timeline up into the 20th century.
• She's not riding the bus, so she's at least got enough money for a car.
• This also indicates that she values her privacy, or at least works someplace that doesn't have bus routes.

But what KIND of car should she drive?

What you drive says a LOT about who you are, or at least the "who" you are trying to present to the world. I have a buddy who loves driving a Dodge Charger (I think he got hooked when he watched The Dukes of Hazzard as a kid). But he's also had a Dodge pick-up and a Jeep. And those suit his personality. I, on the other hand, prefer a non-flashy sedan that blends into the crowd. As a young man, I had too many speeding tickets to ever want to draw attention to myself these days.

But let's get back to our lady vampiress, shall we?

I browsed through my runtime directories to find out what I already had on hand. I had a lot of sports cars and racecars. I had a cool 1961 Corvette convertible, but that's a vintage car that's got a hefty price tag. Would a humble nurse be tooling around in a hot number like that? Especially one who wants to fly under the radar?

That got me thinking about cars that could be described as "basic," "reliable" or "unassuming." I thought, maybe an Audie or something like that. Or maybe an old sedan or station wagon. Browsing my own stuff, and then checking out Daz3D and Renderosity didn't really find anything that leapt out at me. Sure, there were lots of nice cars, but none of them said "old reliable" to me by having a boxy, almost clunky shape.

Looking deeper, I found something that clicked, and it was neither boxy nor clunky: A VW Bug.

© 2023 Mike Mitchell
First render with a VW: it was not used.

The first one I found was a nice, modern bug with a sunroof. This was okay, but something jus wasn't right about it. Even though the sun roof was great for me because it would make lighting her face a lot easier, it seemed too expensive and nice for a struggling vampire.

So I dug deeper and found one from 1969, and it was perfect! Rex thought so, too. Here's what he said when I showed him the rough draft of the splash page with her driving to Victor's house:

I love that you placed her in a VW bug.

It has just the right amount of retro to fit a vampiress-nurse.

© 2023 Mike Mitchell

The above is basically the first panel of the story, although I am going to go back and add a few shadows on her face.

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Graveyard Shift 03 - Character Design Lauren Transformed

 There's no way to progress this series of blog posts without dropping some serious spoilers. Since this is a horror comic I don't think you'll be very surprised to find out that our dear Lauren is a vampire who hides her existence by working as a night nurse for dying people; she drinks a little bit of their blood each night. When they die, who's going to do an autopsy? After all, her patients are dying.

In Rex's story there isn't really a transformation from human to vampire; he handles that subtly.

Of course, this is a comic book, and in a visual medium like this (and with the tropes of trying to emulate the old Warren horror magazines) "subtle" just won't do. So, I'm going to modify Rex's original description of the confrontation scene (below) and have her do a full-on "vamp-out" scene.

Original text by Rex Munsee:

Loren smiled and began to rise up from her chair. Victor reached into his shirt and held the crucifix out in front of him. Instantly, Loren turned her head and moved against the wall. He heard a cry of pain and a guttural snarl.

“Stay back! I don’t care that you’re a vampire! 1 need you to listen to me! I want to make a bargain.”

In a hoarse voice she croaked. “Put it away.”

Victor lowered the crucifix to his side.

Her crimson eyes glared at him through her tangled mane of hair. 

Here's my take on what she'll look like with full frontal fangs.

© 2023 Mike Mitchell

If you compare this to the previous character design, you'll notice I did more than just add a vampy face. I changed her entire physique by making her a lot thinner and exaggerated her poses. The hair still clearly needs work, by the way. I'm still playing around with its color, as I'm still concerned about how I'm going to standardize it against dark backgrounds. (Yeah, I did a few tests already, but they're a waste of time until I really settle on the look and feel of the interior scenes in the house.)

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Graveyard Shift 02 - Character Design Lauren Normal

 Rex's original story is brisk in its pacing and doesn't dwell a lot on detailed descriptions. That was perfect for my needs, as I wanted to have a lot of freedom in designing the characters and setting. One thing I did have to go on was the cover illustration he created for the story. As you can see below, it's kind of rough and he doesn't exactly follow his own descriptive text (illustration shows "Loren" as a blonde but the text says she has dark hair).

© 2023 Rex Munsee

Here's the text from the story:

“Evening, Loren,” he smiled at the tall woman, wrapped in a long coat and carrying a large handbag. “You’re right on time.”

“Hi, Victor.” He watched as she set her handbag down, shrugged out of her coat, and picked up her bag. She handed Victor the coat and he folded it over the back of his recliner. As she was smoothing out the wrinkles on her solid green scrubs, he gazed at her coal-black hair which contrasted with her pale skin, which his deceased mother would have said was a “peaches and cream complexion.”

Loren vs Lauren

If you read headlines, then you'll have noticed that I changed the spelling of the lady's name. Although "Loren" is an acceptable spelling of the name, in my experience that spelling is usually for males. "Lauren" is more often for females (and that includes the two to which I am relate). I discussed this with Rex and he was okay with the change.

So, spelling settled, I started work on the character sheet. I don't always do character sheets for my own work, but as I'm working with a collaborator, I decided it was something I should do this time around. As it turned out, it also provided me with space to make notes about the various assets and dial settings I used to refine her look.

As you can see, I'm still playing around with the hair color – I'm not sure how light or dark it will be. I'll need to test it with the dark backgrounds called for in the script before I will make that decision. After this, I have three more character designs to whip up.

As you can see in the notes, the main figure is Victoria 4. I've documented the various dial and prop settings on the sheet (I didn't share these with the writer, as this would only confuse him because he doesn't know anything about Poser or 3D art). My standard workflow is in play: I create 2-to-3 renders in Poser 13 and transfer them to Clip Studio Paint for compositing, setting the tones and clean-up.

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Graveyard Shift 01

 I've started work on adapting a short story into comic format. The exercise is really just so I can take a stab at doing something that I have not written myself. I also think it would be fun to go back and do some public domain horror stories and try to nail down the style of the old Warren Magazines like EERIE, CREEPY or VAMPIRELLA.

I am starting with a short story titled "Graveyard Shift" by Rex Munsee. He's a member of the Snicker Snack Amateur Press Association (APA), which is a type of fanzine. Rex wrote the story a few issues ago, I read it and decided it would be fun to adapt it. So I wrote to him and he agreed to let me do his story, and the results will be printed in Snicker Snack and the Collectors' Club Newsletter.

The story has simple modeling and set requirements, which is a major criteria for my selection process:

• Few character designs (there are 4)
• Limited locations / sets:
• Exterior:
• Country road a night with a small car driving on it
• Country road leads to a nice house in the woods
• Front of the house as she enters
• Interior:
• Living room
• Bedroom
• Possibly another part of the house, like a hallway or kitchen area
• Props (key items):
• Reclining chair (i.e. La-Z-Boy)
• Lamp, side table, misc. items
• Hospital-type bed
• Hypodermic & medical equipment
• Set dressings (pictures, furniture, etc.)
• Video/security camera
• Video monitor
• Antique mirror

If you're familiar with my workflow, then you know I start out in Poser (a 3D app) and then render line art which is composited and cleaned up in Clip Studio Paint. This makes the first step is to collect the 3D assets I need, and fortunately I already had most of the items above. The exterior of the country road has proved to be the most problematic because I didn't have exactly the sort of hilly environment I imagined when I started to block out the story and make thumbnails.

As for the character design, we'll cover that next time!

Other Posts in this Series

• Graveyard Shift 01 - Project Overview (you are here)
• Graveyard Shift 02 - Character Design Lauren Normal
• Graveyard Shift 03 - Character Design Lauren Transformed
• Graveyard Shift 04 - Lauren's Car
• Graveyard Shift 05 - Character Design Victor
• Graveyard Shift 06 - Character Design Vincent
• Graveyard Shift 07 - Exterior Night

Captain America illustration selected by Renderosity

 Awesome news! Another illustration I created was selected by the Renderosity moderators to be included in their Poser Pulse Gallery for August. I think this may have replaced their "Staff picks of the Week" feature.

As you can see, this illustration uses my standard workflow of creating the base renders in Poser (in this case, Poser 13) and then combining them in Clip Studio Paint (in this case, version 3.0). In this case, I also added retro comic book colors with the True Grit comic book color tools.

© 2023 Mike Mitchell
Captain America and Red Skull are TM by Marvel Comics

A link to the image – and my notes on its creation – can be found on Renderosity.

A link to the Poser Pulse gallery can be found here.

Retro Coloring 06: Skin Color

As noted previously, coloring comics was a two-step process performed by two different people.. The colorist indicated which colors should be used, but the separator did the actual, physical task of stripping the color separations. This is why there were often errors in the colors printed in old comics; either the colorist made an error, or (more likely) the person doing the separations made an error do to being in a hurry or simple inexperience.

Experience is also something that mattered, a lot. There was a lot of repetition in coloring comics, and as such both colorist and separator tended to skip over common things that were done over and over again. This becomes apparent when looking at old color guides: One thing that is often skipped is the code for Caucasian skin tones. This was a very standard code so the colorist really didn't need to specify it since the separators already knew what it was.

That's all good and fine, except for poor ole me living in the 21 Century! 

I actually had a little trouble confirming that these are the standard skin tones used by Marvel, DC, Archie and Harvey. Okay, it wasn't like I had to delve into books of forgotten lore, but it did take a few days to find and confirm through multiple sources that these are, in fact, the correct codes for standard skin tones from the 1940s - 80s:

• White People: Y2R2
• Conan's Skin (redder skin): Y3R3
• Black People: YR3B2
• Hulk's Green Skin: YB2