Art in the City

For the past ten days I went out to Boston and New York for business and pleasure. Unfortunately I didn’t get to meet with publishers as I had originally intended but I did get quit a bit done. I started off in Boston where I had the awesome opportunity to speak with the massart senior illustration class about what life is like after graduation. I was lucky to have three other graduates at my side telling their stories as well. I had plenty of time in Boston to meet with friends and work out some illustration ideas while also leaving myself time to celebrate my birthday and holy week. Luckily I had some amazing friends who let me stay at there places over the eight days. Below is a sketch I did of the Boston skyline.

Then I headed off to New York. Below is a sketch I did in New York’s China town and a sketch of my accommodations at the Bowery white house hostel for two nights. It was basically like sleeping in a closet with a latticework ceiling and each room up against each other with very thin walls. Since it was only two nights, it was actually a fun experience. The showers and bathrooms in general were definitely a bit shady for me though. It reminded me of this one time I went to another school with my wrestling team in high school. They warned me not to drink the water there but I didn’t listen and ended up with the worst stomach pains. Then I found out that the bathroom stalls had no doors, in order to keep kids from doing drugs etc. Let’s just say that was a very uncomfortable night for me, LOL. For my second nights stay at the bowery in NY I came back from the Art Gallery in a dress shirt and dress pants. So there I am with my huge luggage and all dressed up staying in this tiny closet for the night. I swear they checked out my height before I came and made sure I got the room that was one inch too short. If that doesn’t say starving artist then I don’t know what does.

While in New York I met with more friends and attended a gallery show with my “Graduate Pinball” illustration featured in it. All I’ve got to say is that the show was awesome and exciting to be a part of. My painting won second place out of 35 artists, yeah!!! I’ve posted some photos of the show below.

Children's Illustration Process

My process mentioned below is quite long because good children’s book illustration should go beyond what the written word says and go into a further dimension ,adding to the story. Some illustrators just make an image depicting the exact words of the text, which is fine in some cases, but I find that my favorite books demonstrate a give and take relationship between the words on the page and the images.

There are two main categories of children’s books, the picture book or story book. In short, picture books are supported by the pictures and would make no sense without them. Story books are held together by the story and the illustrations serve in a somewhat subordinate role. Neither of these should be limited to what the story tells us.
A picture book may say something like, “The apple was huge” and the image may show the apple taller than buildings and perhaps show workers loading large dump trucks with pieces of apple. A story book may say something like “ The bright red apple was larger than any building in town and the workers had to work day an night to remove the apple before the big day”. While the image would need to communicate these things, it’s still a good idea to add to the image. Perhaps as complicated as adding a huge worm in the apple, snapping at the workers and making their jobs harder, or as simple as adding a small but noticeable worm on a sidewalk, slithering away in horror of how big the apple is.

Thumbnails- The very first art I do after talking to a client about there project is the initial idea thumbnail sketch. I also take lots of notes from the children’s story and from the client on what they would like to see in the illustration. The notes make it easy for me to refer to specific colors mentioned for the scene, specific characters and objects mentioned in the story etc. Most of the smaller elements may not be incorporated into the illustration until the next drawing stage, but it’s good to keep them in the back of your mind. This first image is extremely rough as you can see below.


Then before doing any research I continue to make thumbnail sketches (smaller than a business card) , loosely putting my initial ideas on paper. This helps weed out the bad ideas and develop them into good ones. Generally clients have a very static idea in mind of how each image should look. That’s where it’s good to take notes on there thoughts, but then be sure to give them other unique and creative solutions that would work just as well or even better. This takes more time but it ensures you get fresh results instead of just the first idea that pops into your head. Generally the first idea you have isn’t necessarily the best or most unique. If you get stuck for ideas at this point try some of the tips from my post titled “Generating ideas and Inspiration.” Below you will see a few of the thumbnail sketches I did for my image “The Search for Rudy”. The clients asked for an image of Rudy sleeping behind a trash can in an alley, while kids and a helicopter are searching for him. In my thought process I figured it may be cool to have an image looking down on the town from the helicopter or a bell tower. This is also a good point to start drawing elements at different scales. You’ll notice the difference between the giraffe in 15 and 16. The clients loved these ideas but decided to stay with their original idea, so Rudy would be center stage.

Refined Sketch- Once they chose from about fifteen thumbnail sketches we go onto a more detailed sketch maybe two in which I include facial expressions, correct size relationships etc. when we narrow it down to one image I go into a much more detailed sketch. Sometimes I get reference photos before I even begin sketching the thumbnails but by the time I get to these final sketches I have to get even more references for the image.
References consist of googled images, movies, national Geographic’s, travel books, art books, figurines, textured fabrics, objects, nature etc. Take lots of photos, and use more than one model or more than one costume. In some cases I even make clay sculptures of characters, cardboard sculptures of buildings etc. to help get lighting right on the objects and to help draw characters in weird positions from any angle.

Value Sketch- Now I decide if I need to do a black and white shaded sketch or if I can go right to the color sketches. For this image I had a pretty good idea what the values should be and I did experiment a bit during the thumbnail stage. For the more complex images I almost always do a value sketch to make the color stage easier. Sometimes I do more than one of these for the client to choose from. I might have a sketch of a room interior and the shading will show if the room is lit or not among other things.

Color/Hue- Now that I have a final sketch that the client and I are happy with, I move on to color samples. The idea here is that you want to give yourself and the client a pretty good idea what the final overall color scheme will be. Don’t worry about the details at this point, you want to see what a purple shirt looks like up against the background colors, we don’t need to know the color of the buttons on the shirt. Experiment the same as you did with the thumbnail sketches. If you’re doing an illustration of a UFO it might be cool to have a greenish tint to a night sky rather than a dark blue or black. For one of my recent logo designs I did thirty color samples. For some tips and tricks with color check out my post titled color tips and tricks.

Once I have a refined sketch, a good value study, a good color sample and some photo reference to work from, I’m clear to go onto the final image. Generally I work on a pretty good size canvas around 18”x24”, so I usually use a projector to draw the final image onto the canvas. When I work with watercolor I usually work around 8”x11”, I find that sometimes it works nicely to print the drawing directly onto watercolor paper.

Generating Ideas and Inspiration

There are three things you must do in order to successfully generate ideas for your art.
1)consume plenty of ginkoboloba
2) stand on your head, count to ten while holding your breath and think happy thoughts.
3) Sit very still in a metal chair with a hat made of tin foil placed perfectly over the back of your skull.

If none of these work for you, continue reading.

In reality there are no sure fire ways to get great ideas. In a sense they come to you when you are ready to receive them and each person prepares themselves to receive ideas in different ways. Since I’m an artist I tend to think of things visually, so the methods I’ve mentioned below are mostly based on visual observation.

mind/idea web- Most people have used these before for writing papers and other projects. The basic idea is you write down a starting word, then build a web of related words around that word, then build off from each of those words as far as you can. This process often generates ideas you may not have otherwise thought of.

Observation- This method for me primarily refers to observation of nature. When you think about it most inventions are things observed from nature. We see a duck with webbed feet and think “those are cool, I’ll make me some” and we get scuba diving flippers, we see a bird flying and create airplanes etc. Artists have also observed nature to create some amazing and imaginative scenes. The more you study nature the easier it will be for you to create imaginative worlds and creatures and objects that look and feel real. Ask any concept artist where there ideas come from and they will most likely tell you that the ideas started from observation of natural and man made objects. Even if they could create a castle without any physical observation of castles then they will at least resort to there memory bank of images they’ve seen in the past.

Do something to it- This is a method that evolves over time. Take an object or a drawing and do something to it. Do something else to it. Do something else to it. This is the method I generally use to design characters until they look just right. Most people get locked into there original ideas without ever seeing if it could evolve into something better. Check out my blog titled “Graduate Pinball Painting” to see an example of a simple cartoon I developed into a larger concept for a painting.

Images- I often use tons of images to jog my mind into thinking of ideas. As a visual thinker, it helps me to see lots of other images to start mapping out ideas for my own images. Most of the ideas we have start somewhere, as creators it’s our job to find that place to start. I often start by looking through old copies of illustration directories. I’m pretty sure you can get a free copy by going here http://www.dirill.com/ It’s also helpful to look through magazines, travel books, books about the topic you’re illustrating ,whatever works to jog your mind into action. Some of my best ideas come while I’m watching TV.

The internet- Even if you don’t happen to have tons of reference images in the form of magazines and books laying around you can always go to the internet for ideas. Find a good artist forum like http://www.conceptart.org/ , http://www.wetcanvas.com/ , http://www.artwanted.com/, http://www.deviantart.com/, or for images on particular subjects check out stock photos on sites like http://www.morguefile.com/ , http://www.corbis.com/ , etc. if you’re looking for pictures of animals you can find zoo websites like http://whozoo.org/gallerymain.htm . These are meant to generate ideas and help you draw particular elements. Don’t just find some photo and copy it.
Other Artists- One of my favorite places to get ideas and inspiration is to look at my favorite artists websites and read their blogs. Below are just a handful of all those who have inspired me and my art.

James Gurney http://www.jamesgurney.com/ http://www.gurneyjourney.blogspot.com/
Dani Jones http://danidraws.com/
Richard Watson http://www.richardjessewatson.com/
Dan Dossantos http://www.dandossantos.com/home.html
Tony Diterlizzi http://www.diterlizzi.com/
Scott Burdick http://www.scottburdick.com/

Relax- Stop trying so hard. Just relax and get away from the project for while. You may spend hours racking your brain in the studio trying to come up with good ideas and get nothing. Some of my best ideas come when I’m in bed almost asleep or when I’m walking along the sidewalk or something mundane. This does tend to happen more often when I have thought about a particular project for a while already.

Friends- Let others help you think of ideas. I think all too often artists have the mentality that they have to come up with all of the ideas or it’s not really there art. Well that really depends on what you’re talking about I guess. I wouldn’t think it’s a great idea for someone to come up with every last detail in one of your images but it never hurts to ask for help and to accept someone’s ideas when they come up with something good. Just be careful of intellectual property. If you rely heavily on someone else’s idea, then make sure they are fine with it first and give them credit where it’s due. In actuality there is often more than one mind involved in illustrating any given image in a children’s book, as mentioned in my blog discussing the process of children’s book illustration. Most of the time an illustrator is working with their client and whoever else the client shows the sketches to as well as whoever pops there head into the studio. Many people have there own opinions and ideas so I would suggest tapping into that whenever possible. Sometimes and outsider can think more clearly than someone who’s been working with an illustration for weeks. As annoying as this can be at times, it can also be helpful.

For more on how to think of ideas check out http://www.princetonol.com/groups/iad/Files/ideas.htm

Color Tips and Tricks

-Use a computer program like Adobe photoshop to tile your image onto a page and print
off a bunch on an appropriate paper. This gives you a guideline to place colors onto.
- Determine your light and value. establish lighting and emphasis. What color are the light sources? (e.g. warm daylight or cool night light?) How does the light/shadows affect the local color of the objects in my painting? (e.g. colors are usually brighter and warmer in light, darker and cooler in shadow)
- Educate yourself on the basic qualities of color. know some basic terms (hue, saturation, value, etc.) and relationships (monochromatic, analogous, complementary, etc.).
-Limit your color palette. If your understanding of color is a bit fuzzy, try limiting your palette to one red, one yellow, and one Blue along with white and black. From these you should be able to mix most any color you need.
-limit the amount of black you use. Before reaching for a tube of black paint, experiment with your own mixed blacks. Try mixing a dark purple with a dark brown. I would also suggest you never use any color directly from the tube especially black and white. Everything in the real world is affected by the light in the environment around it. Right now I have two pieces of paper on my desktop. One is close to a window and the other is closer to the lamp light. The one near the window is bluish white while the one near the lamp is a yellowish white.



-Play with color temperature. Ask yourself if you want to use dominantly warm or cool colors? Most illustrations will be predominantly one or the other. In the image below I knew I wanted a dominant cool color scheme because it takes place at night. Most of the time I try to make the main character either a complimentary color to the background or have a high contrast between the character and the background to make him/her stick out more. While a brick building has an orange tinge during the day, I wanted it to be more towards a dark, cool reddish purple color at night with the exception of where it’s being hit by artificial light.

If you don’t have a color wheel, then either make one or buy one and learn the warm side and cool side of the wheel. Also warm colors like red can slowly turn cool with more cool color added. For example, add blue to red and you get purple, which is a cool color. Add only a bit of blue to red and you get a cool red. This can be helpful in creating atmospheric perspective in paintings. Below you will see two examples of the same image. One has a cooler and unsaturated earth red floor which recedes in space making it look further below, while the other image shows the floor in a warm saturated red making that part of the image come forward which distracts us from the focal point.

-play with saturation. Most children’s book illustration is pretty high on the saturation scale because kids love bright bold colors. If you’re going for a more sophisticated look you may wish to use less saturated color in your image.

character designs

I thought maybe some of you would enjoy seeing the initial sketches for the characters I have designed for variouse projects over the past few years. A great book on character design is "Creating Characters with Personality" by. Tom Bancroft. Some of these are influences by the clients and others are influenced by other artists and objects. For example, some of these robots were inspired by a cd player I had.

This hippo character was my own design but the guidlines put forth that he had to be a hip hop hippo, a male, an adult figure, not necisarily dressed, kid friendly.

My initial Rudy sketches were my own design with very little input from the client. They needed an anthropomorphic saftey dog who loved donuts. These are a couple of the sketches I did. This is basically the first character I ever designed for a client. I used to draw stuff like this all the time in grade school, mostly aliens though.

Then with more guidance and sketches Rudy eventually evolved into this little guy. The clients were fairly specific about what they wanted but getting it right took tons of work.

Clara was a cartoon character but not quite as anthropomorphic as Rudy. She stay on all fours and talks to other animals. She does have a bit more facial expressions than a typical pug though.

This starfish actually took me a bit of time to develope as my original sketches were fairly stiff. Now he's one of the first things people comment on in the final images.

These are princesses from variouse lands of different times in history. It was a bit of a challenge for me to develope there costumes and facial features to make them easily recognizable as having a particular land of origin. They needed to be very distinct from one another and yet all have a sense of beauty about them.

And last are some seasonal characters I sketched for variouse projects. The witch was for a pumpkin carving design contest with "Pumkin Masters" which took second place in the faces category 2008. I don't typically draw characters that are meant to look evil. I have noticed in the past though that evil characters seem a lot easier to draw. I think it has to do with there imperfections. Sometimes when I draw children I have a hard time making there smiles look real. They often look angry. The Santa Clause is just a sketch I did for my sketch book. Maybe I'll develope him more next Christmas. I suppose I will probably go for more of a Saint Nicholas feel than a mere santa clause. The snowman was designed for a Christmas card. This character really humbled me because it was one of the first few I designed with no one elses ideas. I thought how hard could it be to draw a snowman? Really really hard. But for me it was mostly tough because I wanted to get an original feel. I also wanted him to have a spark of life to him. I tried variouse size snowballs, a pot for a hat, vest, variouse eyes, with and without ear muffs, etc. A detail as small as adding or leaving out eyebrows makes the biggest difference.

Graduate Pinball Painting Tutorial/process

Today I finished an illustration that I worked on for a month. Overall it took 120hrs to get from initial thought process to the final painting found at the end of this post. Click on the images to see larger views. I made sure the last image/finished painting shows up large enough to see everything. The illustration was inspired by an ealier comic I drew below which won a competition.
Whenever I'm really stumped I tend to hang around until the ideas start flowing.

There are far too many sketches to post for all of the ideas and roughs to achieve this final sketch. Below is the final sketch with text laid in with photoshop.

From here I did a few variations on the overall value relations throughout the image. I basically printed off a couple pages of the image and tried different renditions. I chose this sketch and adjusted the contrast in photoshop to get it darker.

Then comes the color comps. Below are a few samples I did at about the size of a postage stamp. You can also see I tested the colors for the word "pinball" to see if I wanted the words lighter or darker than the background.

Next I tried a new technique I learned from combining the techniques of two amazing artists. From James Gurney I learned to protect the drawing on the canvas with spray fixitive which is later painted over with a thin coat of acrylic matte medium. This keeps the drawing from being pushed around by the oil paints and it gives a great surface for the oils. Next I laid in a transparent wash of paint in the complementary color of the finished painting. By nature oils are transparent, so the complementary color makes the finished painting pop even more. Dan Dos Santos does this but he paints in the lines of his underpainting rather than using pencil like I did.

Below is another new technique I tried. I premixed all the colors beforehand to ensure an overall color harmony throughout the painting. As you can see, I used blue as the dominant color with an overall cool color scheme. I also placed a midle value brown paper under a plexiglass pallete to help me see the values as I mixed paint.

The beginning brush strokes are laid in loose and playfull. I intermingled colors so the final result wouldn't be too flat. I learned this technique from Wendon Blake who does this when painting skies.

up to this point I only spent a couple of hours to mix the colors and lay down the background on the canvas.

I start to blend strokes of color and block in the focal area.

I leave the outer edges bare until the end so I have a place to lean my mahl stick. A tool I've never used before because I usually paint on smaller canvas than this. 24"x36"

A close up!

The finished illustration. I may do some more small tid bits and still have to sign it.

Illustration Process

Today I finished another quick illustration for an online contest. This particular contest was a challenge for three main reasons. 1) I only had three partial days to design, create final sketch and then fully render final version. 2) I intended to use my new one month trial adobe illustrator and my new wacomb tablet to create the final vector art. I’ve never made a vector based illustration before, and I had only used adobe illustrator a couple of times to lay in some text on images, and I’ve only drawn with the wacomb tablet twice before. 3) The contest rules only allow for six colors including black and white and tints and tones of colors. I have never worked under color restrictions before and definitely not while working with a new medium. I gave myself this challenge because I need to learn the computer programs and I figure I may as well have a chance to win some income while practicing these new skills. You can see the finished version to the right. Please read on to see my process and thoughts as I designed and created this unique illustration. Then please go to http://www.greeneyed.com/contest_page.php?contest=1&entry=45 to vote on my design.
In brief. the contest is put on by a company called “Green Eyed Monster” and they are promoting a healthy environment. My task was to design a bag that would display this message visually and appeal to the common person.
Any good illustration has to start with lots of planning and sketching of ideas. Unfortunately I didn’t have time to let my thoughts simmer day after day until I had developed a brilliant stew. Instead I ended up relying heavily on my previous illustrations to fill in the gaps. As seen below, I started with very basic concept sketch for a green eyed monster. I actually was thinking about skipping the contest all together because I found out about it too late. While watching a commercial I thought of the idea to have a green monster with one eye and there would be a globe with the continents where his eyeball should be.

This then developed into sketch two, a quick sketch of the monster sitting on the earth picking at the garbage and eating it. Sort of like cats scratch at fleas.
Sketch three builds off an idea I used in a poster design for a masspirg earth day event. The idea here is that the monster is floating next to the earth and he is using a vacuum to suck up the garbage from the earth. At this point I decided to look up the phrase “green Eyed Monster” to see what sort of things might inspire my drawing. I use this technique when I start to run into walls with the sketches and need more reference. To my surprise I found this guy who was almost an exact replica of the monster I just designed. Yikes, back to the drawing board as they say.
I like to keep my old paintings hanging in my studio to keep me motivated and remind me what finished products look like. I looked up and noticed how my honey pot ant painting resembled the vacuum bag on the monsters back. This gave me the idea to create a monster that would mimic honey pot ants, only this monster would gobble up and store garbage in his abdomen instead of honey. The last few sketches show the development of that character. You will also notice I had another ant painting depicting a specid wasp and this inspired the idea to add wings to the creature.

Once the character was more or less designed I went ahead and worked out which continent layout felt best and moved the stream of garbage around a bit. I now have an elephant nose sucking the garbage up. This of course comes from another sketch I have hanging in my studio.

Now that I had the monster and his environment figured out I needed to figure out how to use Adobe illustrator to create vector art. I actually know the basic concept behind vector art because I took a digital illustration class three years ago. Unfortunately I ended up taking the digital illustration for animators class rather than the one for illustrators. So we spent the whole semester working with other programs and one day talking about illustrator. I basically spent a couple of hours trying to figure this out and realized I was trying to do the impossible in a short period of time. I ended up settling for an inked outline done in Adobe illustrator which I then brought into Photoshop where I did the color. Below you can see the difference between a magnified version of a vector (illustrator) drawing versus my original pencil drawing and pen drawing and the raster (Photoshop) image.Generally I will also do tons of color samples to determine the mood and overall feel of a piece. However I had pretty good idea of what I wanted for this image due to the theme and localized colors of objects. I wanted a green earth with black garbage, blue water, and a green monster. The yinyang pattern just sort of emerged from the sketches so I went with it. I also considered having an apple stem and leaves sticking out of the top of the earth but felt it was a bit much.
And now the final again.

More Digital Art

I had the opportunity to put some final touches on another digital sketch today so I figured I would post it. This is now my second digital sketch with my new (and first) wacomb tablet. I spent about two hours on this which is a lot less time than it would probably take with oil paint. Of course I wouldn't consider this finished either. I chose this image of an elderly gentlemen to further my knowledge on the differences between youth and aged people. I found this guy to be a good match for my meager skills with digital art since the sketchy and sharp edges of the medium in its raw state actually add to his aged look. For children I would have to blend the colors and edges far more.

Drawing Children

I don't know exactly when it happened but at some point in my days as an art student I decided I wanted to illustrate children's books. As strange as it may seem, it took me much longer to realize this would include drawing and painting children. Not only should these children look healthy, non scary, happy, loving, normal etc. but they should depict an age, an ethnicity, and flow rather than be stiff. Publishers often want to see illustrations of children in action. I had no idea how hard it would be to achieve this outcome when I first started but I enjoyed the challenge. I first realized how hard children are to depict in my Senior year portfolio class. I brought in a painting of some children playing in the snow and a few people pointed out that the children looked stiff and even a bit retarded. I've often heard it said that an artist is there own worst critic. As an artist I tend to criticize my art so drastically that I don’t want people to see it until I’m happy with it. There have been times I worked on an image for hours and think it looks fine while someone else will come in and immediately spot problem areas. This happens when I look at individual parts of an illustration but don’t take the time to step back and look at the work as a whole. One good technique to help see problem areas is to either turn the drawing upside down or look at it in a mirror.
Over the past couple of months I have tackled what I feel is the most crucial element of any children’s illustrators portfolio, the children. I worked a bit on drawing children and plan to continue this process until I feel confident drawing children in any pose, and ethnicity, any age, gender, perspective etc. without reference. I will be happy to receive any advice or techniques that people have discovered in there own art making process. Some samples on the right.
These are all under one hour sketches and they are freehand drawings from photos. Click on the image to enlarge.

Just a few quick things I’ve learned to keep in mind. The younger the child, the rounder the face. Children have bigger eyes, ears and mouth in comparison to size of face than adults. Children have bigger foreheads. Children’s heads are bigger in proportion to their bodies than adults, often having four to five heads height while adults are seven to eight heads tall. Their eyebrows and hair tends to be very light and thin, particularly on young children. The line under children’s eyes tends to be less pronounced. Teenagers tend to have longer faces with more chiseled features, not so round. Younger children have short necks.