“Today, in our field, there is so much talent and recognition that we are reaching a saturation point. An artist should no longer strive only for breathtaking craftsmanship; he should, instead, try to help us live better, either by dressing the wounds that are constantly being opened by society, or by offering solutions to get us out of the mess we’re in…But it’s going to be difficult and we have a lot of work to do.” - Jean 'Moebius' Giraud

Saturday, February 25, 2006

THE BRIDE_nucleus exhibit

Did this image several months ago - Frankenstien's beau for a Gallery Nucleus (if you've never visited, I say go... it's a fun place full of neato items) exhibit and their Halloween show thematically titled 'Monsters'. Colored in PS/CS and printed on canvas paper. I'll try to find the colored version and put it up for comparison.

Thursday, February 09, 2006

SCRATCH PAPER_90 minutes

So, I promised 'chicks' and I lied. Instead, you get non-committal drawings done on scratch pieces of paper. Sometimes, I'm genuinely surprised how well things turn out when I don't care as much. This time around, I was less concerned about finishing the images and tried to see what came out of the pencil. I did, however, get caught up in the technical elements of each. I did as many as I could in 90 minutes except for the last one of the 'Thundercats' group shot. That one was a separate day all together.

I had no idea how to draw Yoda - I still don't. You'd think after seeing the trilogy a bazillion times I would but, nay. I've erased the ghost images near his ears in which I drew them downwards. And I've no idea if Luke's costume even looks like that - he's wearing fine Abercrombie apparel however. Heh.

Lion-O I'm fairly happy with but I had to break the Sword of Omens - bad planning had me draw it right at the edge of the paper. So I broke the sword and made it 'artsy' (more like art-faggy, actually). A technical oversight that should never happen to a guy who's been drawing this long.

The Monkeyman and O'Brien was a pain to do because I had planned to color it for portfolio purposes. And right in the middle of inking the ape I realized I wasn't very happy with it. Most of the development work I do for color is done in this single line style. Easier to select and fill, you know?

The group shot was a practice in futility. It took a day (more than 90 minutes, obviously) as I tried to keep up with a friend of mine. But there was no chance because she's so much better at drawing these characters than I am. And more importantly, she gives them personalities. I just draw action figures. But I'm trying to get better at it.

Wednesday, February 01, 2006

SLIM_90 minutes

My morning ritual/habit/discpline...whatever - was to take the first hour of the day behind my desk and loosen up by sketching anything that comes into my head (weapons: .5 blue technical pencil and StaedlerMars Graphic 3000 felt tip brush pen). Most of the time the subject is dictated by whatever movie I might've plugged into my DVD player (Predator, B:TAS, etc.) and that's just fine - anything to get me drawing. But the rule is: I can't go over 60 minutes to find the subject, think of a cool pose or composition, pencil, ink, and sometimes (time and schedule favoring) color it. I dropped that rule around the third drawing - so it became the 90 minute version. And that, suprisingly, has held true. Thankfully so because I'm afraid my directors and producers wouldn't put up with me drawing warm-up doodles on thier dime. It seems that fear governs my morning lolly-gagging quite effectively. Anyway...

Cyclops is a personal favorite of mine since the first time I saw him in my X-Men books. More importantly, he became my favorite because of the comicbook artist who drew him - Paul Smith. Completely underrated because he wasn't Cockrum or Byrne and passed over because he wasn't JRJR, Silvestri, or Lee. Paul Smith has got to be one of the most solid people who's ever worked on the Uncanny X-Men title. I was voracious about collecting all the issues that he did and when the task of doing the monthly fell onto that Romita boy - well, let's just say I was abit more reluctant to fork over my 75 cents. Paul Smith has since drawn other noteworthy books. The Golden Age with long-time collaborator James Robinson (Leave it to Chance) is a personal of mine. But I don't know if anything will ever match the awe and amazement I felt when I saw him draw Cyclops kick the X-Men's collective butts (under the inluence of Mastermind) by setting them up in thier own Danger Room. What brought on the Paul Smith reminisce? Sitting around at the end of the day last night with a couple of well rounded comicbook guys, it came to light how much influence he had on me - I met him at a convention in San Diego once and geeked out like I hadn't geeked out in a long time. We're talking a serious case of genuflecting here, folks. That's where this image came from. If I could draw Cyclops for a living this is how I'd do it.

The technique for his eye blasts isn't anything new or original, but I couldn't tell you where I got it from. All I cared about was not drawing that beam/blast shooting right out of his goggles: 1) it has a way of looking silly sometimes when it's just shooting out at nothing, 2) it'll screw up the composition of how his body is curving - which was the more important aspect I was paying closer attention to. Oh, and I screwed up that front foot too - but nothing a small Post-It couldn't fix. More soon. Chicks maybe.