First, this new color scheme is significantly less labor intensive. The original coloring of this page took several hours, while the new color scheme took about one hour.
Second, I believe this new color scheme is more interesting than the original, in that the original was fairly representational, the colors used more or less corresponding to what they might be in real life, and draws attention away from the form, particularly the inking. The new, more expressive color palette emphasizes the inking. Furthermore, as the person who is actually doing the coloring, this color palette is more interesting to work with than the original one.
I was approached to design a tattoo for a friend, with the parameters that it be an octopus playing the drums. It had been a little under a year since my last big octopus drawing, so it was perfect timing to get eight-limbed.
As for most of my large illustrations, I do a rough sketch first. Pending the approval of my friend, I can proceed from here to a larger pencil drawing.
I don’t always do such extensive pencils, but I don’ want to play it fast and loose with such a complex subject. Penciling will map out where light and shadows will go when it’s time to ink.
When inking, I try to be mindful of the marks I’ve made with pencil to know when I have a hard or soft shadow, what kind of light source I’m supposed to have, etc.
Applying ink-wash is the most fun because it’s so much less time consuming the way I do it: I lay down some water with an aqua brush, drop the wash from an eye dropper, and let it mix itself.
Once I scanned the dried illo into photoshop, I change the levels , being mindful of the mid-tones that the wash has created. Additionally, I put a color layer in for a subtle tint.
I came across a still from Jason and the Argonauts, which is a movie that had a profound influence on my formative years. I’d recommend seeing it for the Ray Harryhausen animation alone. So here’s my process.
I started with pencils.
Then I moved onto line work.
Then I added some spot blacks
And followed by some ink wash.
And finally I added a color layer and adjusted the levels in Photoshop.
I was going to document this step by step, but I was so enthusiastic about drawing my dad with the Fez I got him for Xmas that I forgot to document each step properly. I may go back and play with this image further, but for now it’s done. This is an ink wash and brush pen team-up with a little photoshop color tint.
One of my favorites movies is Double Indemnity, which I first saw as a dumbass 18-year-old. Dumbass or not, I was able to appreciate the beautiful compositions and noir lighting.Recently, I watched this on a projector and I was able to take some very crisp reference photos. Here’s a process series!
I’ve decided to get back to basics: robots comin’ to town!
What love about robots in a city, aside from the obvious, is that it’s a great opportunity to test easier ways to draw cityscapes. You see, gentle reader, while I love looking at cityscapes, as I imagine many of ye do, I find drawing them labor intensive, time consuming, and sometimes boring. So the “robots in a cityscape” exercise is a three-pronged attack: practice cityscapes to become faster and generally more proficient at drawing something that can be un[pleasant to draw; discover new short cuts along the way;draw some robots.