(Be sure to read in a slow, grisly, proper voice)
E is for Edward, he’d be eighty eight, I say.
G is for Gorey, happy, happy Birthday.
(Be sure to read in a slow, grisly, proper voice)
E is for Edward, he’d be eighty eight, I say.
G is for Gorey, happy, happy Birthday.
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.
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.
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.
Who knew I could make it this far with just a silly mobster theme? I have to admit that I worried, I cried, I even confessed to “Mad Ma” Johnson that early on, I would run out of ideas and she might have to break my knuckles. But, I am quickly finding out that just about anything can be turned into a goofy character; I mean, there is a character based entirely off of neckties, and looks like a necktie! The Daily Mobster has just reached 40 mobsters and is quickly nearly the 50 mark! I have a special announcement to make when we reach 50 so make sure to stay tuned, and share with a friend. New readers are always welcome and if you have ideas, thoughts or comments, share them! Thank you all for the following and support.
I like Johnny Cash; I also like the way he looks. His appearance and personality make for a great caricature. Here is an original ink drawing I did (before) and then a treated poster print (after) of Johnny Cash as “The Man in Black.” It is actually available for iPhone skin and poster print, but I am wondering what I might ultimately do with some of these caricatures. They were on Etsy as cards a while ago, but I guess cards aren’t the best application for a caricature.
While I sort out the ISBN registries for “The Island and the Plough”, and navigate the intricacies of publishing a picture heavy book to the many eBook formats that are out there, I am busily working on writing and roughing the designs for my next project which I will begin to post about very soon. I am super excited about my next book, as the story is really getting to me. Everything is falling together pretty well. Interestingly, it certainly has, unintentionally, some of the same themes as “The Island and the Plough” but in a very different way. I have a pretty strong outline completed, promising concept sketches, and a few ideas for page spreads that I think will look really great. I have yet to find a title that suits it but I am sure that will come along in time, but for posting purposes I will refer to it as “Salvador.”
The basic concept is a story of a fishing boat captain and his young ship mate, Skip. The two are amidst a sleepy fishing village perched at the rocky cliff’s edge where the land meets the ocean. Their ship is but a small, single sail boat that barely seats two, not to speak of nets full of fish. The captain also has an old tugboat, in severe disrepair, that he wishes to fix up and use because it is larger and could get them to deeper waters and carry more fish. The naysayer villagers laugh at his inability to catch fish as well as his dream of using the tugboat for fishing. Whilst readying themselves to push out one morning, a very unlikely new friend washes ashore. The story unravels into three parts as the Captain and Skip adventure out to include high sea sailing, wrangling/wrestling with nature, and a hunt for an unusual treasure which can only be had with the help of their newly found friend, all while the cynical villagers laugh from afar.
Until then, I leave you with this book page layout-mock up of “The Island and the Plough” until I bring more news of a release date.
Illustration Friday’s topic popped up as “Fluid” and I immediately thought of a past project I was working on about three years ago. The villains in the story shed off black, inky, fluid as they moved about. Unfortunately, this was one of those projects I just had to let die as, every time I sat down to work on it I drew a blank and struggled endlessly trying to achieve what I wanted. It definitely taught me how to learn to let something die. I have to admit that I really want to complete this project, but am not regretful that I dropped it. It allowed me to clear my head and start over on several other projects since. I still love the story and the concept, so I am sure I will return to it in the future. The manuscript actually came together quite nicely with the exception of one plot hole, as did some of the initial pencils of each page. But, when I sat down to some of the very important page layouts, to finish the ink for each page, or do the final treatments (and this book had a lot of “effects” involved) it just never looked the way I wanted it to and unfortunately the mood and plot of the story relied very heavily on the visuals. I hope to add it back into my queue of projects sometime.
The basic set up for this page is that Benjamin Brigham is a rotter and just a really nasty little child. He plays horribly (really horrible, some times life threatening ;p ) pranks on people, is grouchy and grumpy, and puts up a fight to nearly anything his parents or teachers wish him to do. After being thrown from several schools and scaring away countless nannies and sitters, his parents receive a letter in the mail regarding the most prestigious academy for troubled youth that guarantees perfect results. Madame Lynch, the administrator of the academy has come to collect young Benjamin.
I recently completed a custom commission illustration. It can be really fun doing commissions because they usually lead to something or some topic not normally in the usual repertoire. I can’t remember the last time I drew a hunter, if I ever have! Not knowing the full extent of the client’s relationship to the idea or the meaning of the characters can be fun because it still leaves me open to my own interpretation and style while maintaining the requested qualities. The only requests were to have a very casual hunter (almost as if he is not actually hunting) with a big feather, carrying a coffee, and a deer in the background.
If I were to make many prints of this, it would be a great candidate for screen prints. In this case I just painted the white with acrylic white paint and hand inked the black (plus the client wanted the original, not a print). The image provided was the digital version (scanned the ink drawing,then the white done digitally) which was printed on a greeting card to match the original print. I just quickly dropped it into a stock image frame to show what it might look like in the client’s pre-provided frame. Fun!
The cantankerous old grump hobbled his way home through the blustering snow and dangerous ice, completely unaware his life was following in his wake. A young weak flame, his past, hovered right behind him. A giant lumbering man, his present, walks careful aside him as not to fall out of step. Ahead of him, creeps the shadows of his future and into them he ventures. A lingering cry haunts the alleys and the streets, chains clank and rattle of warnings to a ruined man as he bitterly scoffs off the world, heading home to sulk.
Here is this year’s rendition of Dickens’ Ebenezer Scrooge along with all four ghosts. I stayed with the traditional flame character for the Ghost of Christmas Past. I had to do three or four thumbnails, and a nearly full render of another drawing to get a composition that I liked since I wanted them stacked, using the Ghost of Christmas Yet To Come as the backdrop. I haven’t really seen Scrooge done with a beard, sometimes Victorian chops, but usually clean shaven. I thought it might be fun to give him a cranky old beard and make him stout rather than long and lanky. I had a lot of fun doing this one, hope you enjoy.
“Darkness is cheap, and Scrooge liked it.” – A Christmas Carol, Charles Dickens.
I was digging through some old files and I forgot how much I loved this character sketch. So, enjoy the “riveting adventures of Angler Boy.”
I have reworked the cover art for “The Island and the Plough” a bit to include the house as to bring in a bit more of the human element considering the story so heavily revolves around a man and nature theme. It seems to have lost some of its perfect symmetry, hopefully for the better in an asymmetric sort of way. It might still need a little more attention to keep the balance right. I am nearly finished with the internal illustrations and hope to post some here; however, not too many as to ruin the story. ;)