Gnarly Gnome holiday tags to cheer up any holiday gift package in the Etsy store!
My copies of Ultraswing‘s “Jouez” have arrived; they look so great printed! There is always something pretty great about seeing work printed as it has such a different feel that being digitally onscreen. They have a tactile substance that I love. The music is great too, so if you like gypsy jazz in the style of Django Reinhardt be sure to check out Ultraswing; they have worked really hard to putting this album together and I listened to it on my drive up to the north valley this weekend and the tracks are wonderful. You can have a look at flat, larger versions of the covers from an older post here.
Ultraswing, the UK gypsy jazz band has just released their next album, “Jouez,” for which I did the album art work. This was a great project to work on, especially for developing some fun characters, interesting vignettes and scenes. They wanted to go with the idea of a speak-easy style jazz club featuring the full ensemble as well as all the characters that go along with that type of lounge. As soon as I receive my copies in the mail, I will be sure to post some photos of the product as well. There are interior panels and the disc itself, as well. If you like jazz, and especially gypsy style jazz, in the vein of Django Reinhardt you should certainly check them out and give them a listen; plus, they are super cool cats.
I am sure you are wondering where I am, or at least why I haven’t been posting much lately. I have had my hands quite full with a few projects that I hope to post results for very soon. Aside from trying to close out “The Island and the Plough” and shop it around to a few potential distributors I have been working on the next book as well as some super cool commission projects. I will be doing the album art for Ultraswing, a UK gypsy jazz band. They decided they wanted a little change of pace from their prior albums and wanted a full black and white illustration spread. Once they are ready to release on their website I will begin posting some images soon. All I have to say right now is that this was a really great project, creating some awesome little characters and vignettes and had a lot of fun. Can’t wait to show it off.
Hello all. For those of you have been following for a while and know of “The Island and the Plough” have probably been wondering where this book is and when it is going to be released. Things are going a little slower than planned in terms of getting it printed at a reasonable price so I am trying to coordinate the printing process to provide the best quality for price. I am glad to say, however, that I have proof prints in hand and they look great! I have showed them to the people who helped me complete this project and everyone thinks it’s a great little piece and I am very excited to start getting it into people’s hands.
Stay tuned for updates, and of course, more art of other sorts.
In the story for “Salvador,” the down on his luck Captain and his ship mate, Skip have a turn of fortune when they befriend a colossal baleen blue whale. After being ridiculed by the local villagers, and unable to bring in a decent catch, the Captain and Skip are washed out to sea. They realize the whale wants to help them. They fashion an grand mast from nearby pine and stitch together what they can for sails in order to create an enormous saddle for the whale. The creaky, run down, tugboat instantly becomes the helm of the fastest, best fishing ship that ever sailed, err swam, the seas.
Cool man daddio, how about some swanky skins for the old iPhone? I thought it about time for poppin’ some swell wallpapers of the most popular mobsters. Show them around, or just have a little smile every time you turn on your phone at the goofball looking back at you. If anyone has a special request, just shoot me an email via the contact page and I can try to get to it. Hope you all enjoy and don’t forget to stop by, and have your friends stop by, The Daily Mobster once in a while.
Goodnight, Maurice. Thank you for everything. “I refuse to lie to children.” – Maurice Sendak 1928-2012
Be sure to watch the great interview I posted a little while back.
The proof print for “The Island and the Plough” has officially arrived! I must say, it is very exciting to see it in physical print. Regardless of my thoughts on ebooks, and digital media, there is something really great about a book. I am still sorting the official business with copyrights, and the ISBN registry, which will allow some time for the printers of the final version but it is so good to see this in near finished form. I want to thank everyone who helped me along the way and have been so patient as well as those who follow and support the entire process. I can’t wait for this to be a completed project, and then start the next!
Here are six preview images of the book proof. I tried to choose six images that sort of represent something we can learn from this entire process.
1: First Impressions Are Important
First impressions certainly aren’t the be-all-end-all, but despite the old saying to not judge a book by its cover, people do. I know I do, but more importantly than judging it is calling attention to and grabbing the eye. Something catchy, simple, and strong is often a great idea for the front, cover, or introduction of any project. A book calls you by its cover.
2: Dot your Is and cross your Ts.
The “legal/acknowledgments” section of any project is of the utmost importance. Noting your sources and identifying yourself is crucial, even on a single image. There is nothing I hate more than finding a great image or illustration on the web but there is no identifier as to where it came from, so I can never find more of that goodness! Thank Google for the reverse image look up. Don’t forget to acknowledge those that may have helped. Be gracious, thank those that have honestly helped you, because no project is done alone (even those that physically are done alone, mental, emotional and inspiration support comes from everywhere).
3. Set yourself some rules.
Like Papa warning the children of rules of the island, be sure to set yourself some basic ground rules. Projects very easily get out of hand, grow larger than expected and veer off into unexpected territories. Be clear with yourself about goals and expectations. Most importantly make sure your project is manageable! It is much easier to grow any project than to trim back an unwieldy beast.
4. Know your strengths and embrace weaknesses.
Papa has the wonderful idea to throw apples from the tree down to his son Eli who catches them. This works well until he throws an apple too far, setting forth the entire story. Know where your strengths will take you and what weaknesses you have that might hold you back. Focus your strengths to really drive the project and carry the bulk of the work. You may even tailor a project (Like this project I focused on constrast with black and white) to your specific strengths. Work with weaknesses, not against them. Composition, for me, is tricky. To be frank, the children’s books out there have little of it (mostly just an image with text below); finding reference or examples was quite difficult. I needed to be creative and make composition a focus but not let it hold me back as I wanted a very graphic style and include dense typography to help tell the story.
5. Be willing to accept non-perfection.
There are many things, even in this final piece or a feature film I may have worked on of which I still want to change. The viewer almost never notices them, so learn when good is good for the sake of the project, time line, goals, and just over all sanity, to not obsess. Like Papa needing consolation from Mama, don’t be afraid to ask for help, critiques and comments. You are your own worst critic, so fresh eyes that aren’t directly attached to the project are best, but try to make it someone who will be constructive and give reasons to what they think rather than claiming something is not working. Surely, too many comments can lead to a mess, but none is far more dangerous. I suggest getting feedback early on in the process, then work on it a bit for yourself, and then comments near the end (but not so far to the end you can’t take them into account). Try to ask someone other than your mother.
6. Just do what you want.
Some of my story ideas are certainly a little “off the beaten path.” An editor I once talked to said my work is wonderfully unique, but impossible to categorize (and therefore, market). I was unsure if I should take that as a compliment or a critique. It may be true, and I might possibly only live in a niche market, but that is all I know; do what you know. I write about what I think about, and things I would enjoy to read or illustrate. Perhaps, this story is a little heavy for children and I wouldn’t even dare to call this book for children, rather an story for those who also like illustrations. If something is deemed “unmarketable,” I always go back to the fact that someone marketed and sells (a lot, mind you) rubber dog poop and plastic vomit. Anything is marketable.
I have the first actual printed proof of “The Island and the Plough,” on its way to me. I am awaiting eagerly for it to arrive. This puts me ever so close to the finish line for this project. Meanwhile, I also am working with a friend who is a developer to release an App version of the book with some fun interactive tid-bits and animation. I hope to have that out soon after the print release. The above is again, just a nerdy digital book mock up, but I will be able to finally post an actual photo soon!
I have killed another soldier, a faithful old pen. He was but a commoner yet filled a many jacket, blackened a many hat, and darkened a many tie. Yes, I use a Sharpie, sometimes, for inking. I know it is not preferred and you may already be furling your brow at the low manner in which I behave but I have come to like the Sharpie. It is simple and consistent and widely available. I can carry them in a bag and are great for travel or quick works. I know my dirty, low class pen will never survive the test of time without any “archival quality” ink. It will wither and fade in the brash sunlight of west Los Angeles, but I don’t care, for it is a impotent artist who requires special tools. It is a sad artist who blames his tools. I too, once brandished a fancy Moleskine notebook of which holds glorious, legendary powers in hopes to harness the same genius that bled from Hemingway’s veins, hoping it would make my work magical. I too, once carried the famed Micron pen and the Staedler pencils, because no actual artist would dare carry (dare not say use) an unbranded, hideously yellow, #2 pencil of which is not even worthy of using the HB insider lingo. Alas, I still use India Ink, metal tip pens, and brushes but for most everyday workings I have squandered such dreams of Hemingway and draw many of my characters on the forbidden copy paper of which a common, gasp, digital printer might use. Sure, judgments are passed, scoffs and tisks are handed by those in the supply store. But I have work to do, dear critic; I have not time to wander the supply store in search of the lesser user of commoner tools I feel may need a lecture. Unfurl your brow, fellow inker, embrace your unorthodox use of illegitimate tools.
Here is a sneak peek into the process behind one of The Daily Mobster characters and a quick tutorial/explanation of how I work and how to design a character.
1. I, of course, start with a sketch which are usually smaller thumbnails on a scrap paper until I find an acceptable shape and basic look. Because of the nature of mobster characters this often revolves around exaggerated features or an interesting shape. This rule works pretty well for non mobsters as well. If you can create a silhouette or a shape that is instantly recognizable to that character you are already on our way to great design.
2. Then I do the light sketch with all the details fleshed out; this allows me to give a little extra focus to certain areas like hands, belts, buttons, or others that need extra attention. This is also the step where you can focus on contrast, as it is the first thing the human eye notices, it is important to decide where heavy blocks of color/black will be and where dense detail will be. A general rule of thumb, when certain areas are very large in area (such as a belly or a chin) give them less detail as their size will attract attention, and when they are smaller or require extra focus fill in the detail (faces, hands, accessories of interest). Use the lines and shapes to help direct attention as well, notice the tie points to the chin and continues the crevasse in his chin.
3. Then I simply start inking over the pencil. Sometimes I ink over the entire drawing with a single width then fill the blacks and weight the lines afterwards and other times I do the complete process little chunks at a time (as seen here) moving across the drawing. The contrast between full black, white with hatching/textures, and full white is very important in a black and white illustration; luckily suits play a big part in the mobster world. If the background is dark, realize that a heavy black suit will act as a subtle part of the character and his face will stand out. If the character has dark skin, often you want to put him in lighter color costumes, unless his environment will be mostly light. I usually try to balance out the black and the white to create a focal points.
4. Once completed, I erase the pencil lines that poke out.
5. The final step is to bring the scan into the computer. Since the original ink is fairly clean there isn’t really any digital treatment of the character itself other than to overlay it on one of my backgrounds and apply some simple shadowing/lighting effects behind him. I hand draw the background designs as well (I may post a tutorial about how to make repeating wallpapers from drawings like this) in line format, then scan them in, convert them to white and overlay them on grey repeatedly. Tommy will be posted on Thursday, so be sure to check out The Daily Mobster and read his story.