And here you can see my Tastees ice cream sketches being improperly used and altered by Adolf for his Rebel Clothing line:
Swell! It’s times like these that I question the validity of being incredibly open about my process and techniques. I feel like privatizing my whole Flickr feed. Lame.
Update: I privatized my Flickr feed last night. I decided against that by this morning. Apparently, re-enabling your photos changes the URL. Brilliant, Flickr.
All the posts on my blog are now hosed. I’m going to fix a few posts a day. Le sigh.
Inchworm, a local (Chicago), indie band that, in their own words, “…mixes psychedelia, rock, and folky singer/songwriter stuff into a savory blend of original music,” recently hired me to create the art for their forthcoming EP, Sheep In Wolf’s Clothing.
Click the above image to enlarge.
Click the above image to enlarge.
Cover detail.
Back cover detail.
Inside detail.
Read about this job, creating for the music industry, and see some progress after the jump.
I’ve been spending more time reading the horror comics which inspired me and have remembered what it was about their line-work that so entranced me in the first place.
Some more recent tinkering with real brushes has been leaving me frustrated with digital.
It’s a challenge to achieve ink-like results digitally. You really have to be conscious of how things would look if they were done analog.
The width of your lines should first and foremost denote the weight of the form they depict. Secondarily, they ought to take the light sources present into account.
Constantly try to go from whisper thin, to thick and back again, even with many flip-flops in a single line. Do so with the above tenets in mind. Be a slave to those tasks. Style and the flashier aspects of inking come as a result, I think. They’re byproduct, not the goal.
One last thing, I’ve got a crap-ton of new updates on my Flickr page. If you want Twitter like art updates, head over there. If you want meatier stuff, I will be active as ever over here. Perhaps more so in the coming weeks.
My new creative input device of choice arrived a few days ago. The unboxing was frantic. After hurriedly discarding the first layer of cardboard shell, I tore into the second. The packing materials weren’t making it easy.
“Open, damn you! Too. Many. Boxes!”
Finally. There it was. Covered in cellophane, styrofoam, and other earth-threating materials. The monetary investment wasn’t the only regrettable accompaniment to this guilty pleasure. It’s petroleum produced silhouette was beautiful. “I can just devote more time to pro bono charity work to, er, offset it,” I thought.
I setup my workspace to accomodate it’s 20 plus inches of horizontal width. I plugged it into the DVI port on the back of my work PC and installed the requisite software.
“Hurry. Up.”
I started to make my first strokes. “What’s this? Lag? Horrible, terrible, noticeable lag between my stylus and the cursor?”
The above video explores inking in Painter and how to trace your inked output. Albeit, very, very briefly! The resource files and links I mention in the video can be seen after the jump.
