A new cracking exercise working on a book project.
I liked the idea of this story featuring a little girl and her pet woodlouse. The first exercise was to roughly sketch out the two characters.
Thankfully I was working to a brief for this project so I was aware of some of the specific details up front. I knew what Vicky was to look like and the audience to whom she was to appeal.
I love the idea of taking stories that I enjoyed as a kid and re imagining them in my own style. But to be honest way back when we had some fairly awesome illustrators. Edward Ardizzone being my absolute favourite.
By and large I'm relaxed about being self taught but ongoing learning adds to a constant sense of always trying to catch up. I'm keen to learn more from others both creatively and technically.
For me the very best way to learn is to watch others work. I'm happy to unpick my own process and throw it into the mix if it helps. If it does nothing but show someone how not to do something then I've helped.
Here I'm looking to create a spot and quarter page illustration to accompany a magazine article. The article provides a list of tips and suggestions for activities that will help keep chickens healthy and happy during the colder months.
This one was just trying to figure out the character of the ‘coach’ or instructor. I liked this approach with these sketches but he still looked a bit goofy, not a look I wanted. Still, this page gave me the start of the pose and also gave me the idea of the bat and ball as part of the quarter illustration.
I looked at some fun playground activities which might work with an illustrated chicken. I kept away from trying to illustrate a real chicken and real items as per the article. I thought giving each chicken character and different identities might add to the fun of the piece. This page included the start of a sketch for the coach in the spot. I wanted to identify him as the bird calling the shots/giving instructions. In the same way that the article was. I couldn’t initially come up with a device to show him as the leader apart from a cap with the word ‘coach’. I thought this made the character look too dumb and that wasn’t the point. This sketch included elements that I didn’t have room to use and they had to be left out. The swing was one but my favourite was a piece of riding apparatus in the shape of a fox.
Some extra working through ideas. The football coach style blackboard felt right to add to the instructional element which would combine well with the megaphone.
Above are the final line drawings for both illustrations. Below are the final illustrations which i colored using a combination of pencil and brush tools in Sketchbook Pro using my Wacom Intuos Pen Tablet. Digital drawing with these tools means that it feels like a continuation of the natural drawing process.
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Every year Aquent / Vitamin T release a talent Calendar which is delivered to the desks of their clients worldwide. I'm incredibly proud to be associated with this years and to have my artwork chosen for the cover of the 2017 calendar. Competition is always tough for this and I'm delighted to join some fantastic artists included from around the world.
Following on from my initial attempts with these new Derwent graphic set this is a walk through of my process creating a sketch of this beautiful statue. I’d love to have been organised enough to make notes of what grade of graphite I used for each stage of this drawing. I’m not organised. Actually, that’s probably a good thing as I’m sure we all have different ways of working and I’m sure we all have a process of trial and error with each grade and how it can work best for us.
The first thing I did for this drawing was to sketch out a rough outline. I needed to make sure my scale and perspective looking upwards all worked right. The lightest grades (primarily H) worked best for the lightest of marks for this stage.
Working around grades HB, B and 2B I started to add the detail of the figure. With a strong light source coming in from the left the object was thrown into real contrast.
It took a few mistakes and redrawing certain areas to get the detail right. Learning to use the right pencil rather than increasing the pressure meant that I could easily erase and redraw as needed. When I was happy with the composition it was time to start working on the detail. The lack of light higher on the cathedral wall here meant that this was the area that would dictate the tones for the rest of the picture. So I decided I would simply start at the top and work my way down, pulling the statue into the drawing as I went.
The grades around 5, 6 and 7B all did their job on the darkest areas with the lower B’s all helping with the slightly lighter elements of the brickwork. Another additional benefit of having such a range of grades to work with and not having to gauge into the paper meant that using a putty eraser was so much easier to lift little areas of graphite.
Being able to alternate between the lightest and darkest grades of graphite as the statue started to build really helped with the process.
Such was my enjoyment of this process that this piece was finished in one sitting. See the finished version here. I’m sure I didn’t use every single pencil on offer this time but with such a choice I’m sure they’ll all play their part in future drawings. These pencils have made me fall in love with drawing all over again and I know that they’ll get plenty of use. I’m looking forward to not just producing more sketches but learning more about how each grade can be used.
I'm pleased with the outcomes so far and have been hugely inspired by the quality of work that other artists have achieved with this set. More details can be found on the Derwent blog here. http:// www.lovepencils.co.uk
I've recently been fortunate enough to have been sent a set of the newly improved Derwent Graphic set to try out. I have to say that my pencil work has usually been reasonably quick sketches as a means to get on to other medium. The darker I need the mark to be the more pressure I apply! I appreciate this isn't the best appraoch but drawing has been a means to an end to a degree,
However, with these new graphite pencils I knew from the off that I should treat them with a degree of respect and perhaps I could try and use them properly.
So I took the time to read up on what other artists had created using this set, especially the remarkable work of Alexis Marcou. His work is stunning and so I went through every grade of graphite from the set to try them out. Each one producing a slightly different mark, all with the same amount of pressure. It felt like a completely different method of working then I usually apply. So I found a subject that might be a little challenging and set about giving them a proper test drive/draw!
This took a few hours but it's my first attempt to really try and do these graphite pencils justice. I'm pleased with the outcome and have been hugely inspired by the quality of work that some artists have achieved with this set. More details can be found on the Derwent blog here. http://www.lovepencils.co.uk
Now this test sketch is done I'll get going with a more detailed drawing and see what can be achieved. I intend to chart my progress and report back as soon as I can. I'm really looking forward to seeing what I can achieve next.
I suppose there is a degree of irony of an illustrator having to think about the idea of anger management. I like to think I have some pretty good ideas when it comes to illustrating and being able to consider a client brief.
The problem is that these ideas are great all the while they stay in my head. Getting them down on paper, that's a different matter. So, with this illustration it helped a little that it took a while for the sketch to evolve. I knew that the concept would be an illustration of a character going from angry to calm with a visual colour coded 'monitor'. Once I'd established the style of the character I sketched out a couple of versions on paper first. I was happy with the idea of a red cloud descending over the angry character as well as the calm pose of the other character.
One of the best bits of advise I was ever given (and happy to pass it on) is if you intend to create a digital illustration then do as much work up front using pencil and paper as you can. Keep working until you have an idea you're happy with. I'm now at the stage where I'm happy with the concept, characters and layout. Now I need to produce a finished sketch. I map this out on a sketch pad first in pencil and then ink it up using a mix of Staedtler or Pigma Micron liners. I want the finished illustration to look real, like it's a sketch, warts and all so any slight imperfections are fine. This 'real' look includes the paper and so once it's finished I take a photo of the finished sketch and put it on my desktop.
My favourite application of choice is Autodesk Sketchbook Pro. I've tried others and they're either too big for what I need or aren't intuitive enough. I need to feel as if I'm actually drawing at all times. I open up a new file working at around 2,000 x 1,500 pixels and import the sketch. Whether digital illustration or animation the key to working to deadlines is to keep everything tidy. If you have multiple assets for a project then keep them all together in one folder. Save regularly and embrace 'cmd + S' as a muscle memory. Sketchbook has a comprehensive undo facility but getting into the habit of saving your progress at very regular intervals is certainly one way to remain calm.
You'll see from the above that my Sketchbook layout is fairly sparse. The lagoon is of no real use at this point and is neatly out of the way. The toolbar across the top is of regular use although I have got into the habit of using keyboard shortcuts. On the far left of the screen I have the simplest of brush palettes. As I've completed most of my inking on the sketch itself I don't need to do much of this 'in machine'. For every new project you can also create a separate colour palette. It's really useful that with Sketchbook there is a huge degree of flexibility of how this is done and maybe it will be worth exploring in more depth at some point.
In order to be able to paint behind the sketch and still see the pen lines I set the sketch layer to 'Multiply'. I also need a little bit more paper texture so I photograph another piece of old and stained paper and import this into Sketchbook also setting this layer to 'Multiply'. This means that when I include a green colour background on a separate layer beneath the sketch and paper texture I can still see both over the colour.
The rest of the sketch is then painted digitally using a Wacom Intuos (Medium) pen and tablet. I use a basic paintbrush tool and use keyboard shortcuts to vary the size and opacity of the brush as I go. I tend to paint all new elements onto a new layer until I'm happy with them and then merge with lower layers as I go.
Everyone is different but the key for me is to keep the entire process as close as possible to simply drawing on a piece of paper.
I love painting!
That's got to be a similar reason for all of us to paint, create, make, bake, sculpt .....
A second reason must be that each time we tackle a new project we learn a little bit more, we develop our understanding of what we do. It might be a new technique, a new way of mixing colors, a new way to prepare the materials. This latest painting of the lovely kids of friends has been one such exercise.
I don't know about other people but I have an equal measure of excitement of starting each new piece and fear that it won't look anything like the image in my mind. With this particular commission all that apprehension was compounded by the fact that I knew the subjects. I knew what they looked like and I knew their characters and as such it was important that I tried to paint the youngsters I knew.
I started by mixing a suitable tone in acrylic and putting down a base coat onto the canvas. once this was ready I sketched out the outline incorporating the main areas of light and shade. I wanted this to look like a painting. Not a photo realistic copy but a painting with blemishes, one that was nearly there but not quite. I was keen for this to convey a sense of pace with areas that had no detail but looked as if it did. I don't mean this to sound like creative mumbo jumbo but I suppose what I wanted was for the painting to reflect that of a couple of young kids. Bags of energy , not fully formed but with lots of potential to grow.
The painting itself was completed using only six oil colors. This is a snapshot of the process from start to finish.
I know this is gonna sound really bizarre but my study enjoys a lovely window with a ledge for the pooch to laze and snore in the sunshine. I had a spare half hour waiting for a telephone call today so decide to grab a sheet of colored paper and practice. I've always try and make a bit of time every day for a practice. Just as I was about to start the dog leapt up and went bonkers! The target of her anger was the neighbours cat who dared to stalk a squirrel in the street. We both stood and watched as this battle played out, for the sake of this story lets say the squirrel made a getaway!
So my sketch this morning was my feeble tribute to the bushy tailed valiant efforts.
Fur colour has been changed to protect identities.
I started with a few ideas based around the old flip books. This seemed like a good device to mix and match pictures. The latest one came about as an idea when i was watching the remembrance service on TV. So many of the old soldiers seemed to stand in the cold waiting to go on parade with a steely grit. I wondered how many of whom might be there for the last time when it struck me that we owe it to them to not forget. As my Grandad used to say, 'Old soldiers never die but fade away'.