Wednesday, September 22, 2010

Cobweb Detective Club

Edit: Okay so I am sitting here in the airport and I got to thinking "I wonder if my blogpost helped get the word out for CDC?" To help me out, let me hear from you. You don't have to post your name, but leave a comment on this post if you bought Dug's graphic novel, and if you want to, leave a little review. If you really liked it post a link on your Facebook, blog, Twitter, whatever.

One last thing before I take off for a few days. My buddy Dug Nation completed a real labor of love earlier this year. As an artist I have known a lot of guys (myself included) who have talked about doing their own graphic novel, but very few have ever followed through. Dug not only followed through, but produced a top notch 75 page festival of cool.

Granted as someone who is not only good friends with the creator of this book, but also a great lover of all things pulp and horror, I sit smack dab in the heart of this books target demographic. This is why I have remained fairly quiet about this project, but it has gone criminally neglected long enough. For only a $1.99 you owe it to yourself to check out this amazing book. Check out a preview here. Then go over and buy it here.


Materials: Gouache Sketching

I am about to leave on a trip to Charleston, SC. As I will be doing some sketching out there I thought I would use this as an opportunity to go over the materials I use to sketch in color. I have a Masterson's Stay-wet Handy Palette, that doubles as my carrying kit for my materials.



In this I have a very limited palette of Winsor & Newton gouache colors, permanent white, lemon yellow, golden yellow, flame red, ultramarine blue, ivory black. For brushes I have a limited assortment of synthetic sable rounds and one .25 inch flat. For the sketchbook I have a random 5 x 7 spiral bound with heavy, lightly toned paper. I don't remember where I got this thing, so I will be very sad when it is full because it is great for water based media. I also have a spray bottle, because it is compact and multi-purpose. To lay-in my drawing I use a mechanical pencil with a hb lead


Just for fun here is a landscape gouache I did from reference, probably 10 years ago.


As I mentioned I am heading out of town for the next five days or so. I am honored to have two guest bloggers, and they are Dan Dos Santos. Dan will be filling in on Friday, if you don't know Dan's work, shame on you and click on his name. On Monday will be Jeremy Cranford Sr. Art Manager at Blizzard. Thanks Dan and Jeremy.


Monday, September 20, 2010

Life Drawing Studies and Demos (Sept 2010)

Edit: I forgot to mention, I have had some people over the last year or so express an interest in buying some of my life studies. I have started up an Etsy shop for just this purpose, so go and check it out. It is a little sparse right now, but as I catalog the better drawings that are still in good shape I will list them. Quicker studies will list at about $3o and longer studies at about $50.

30 min +/-

1.5 hrs +/-

40 min +/-

25 min

5min

4 hrs +/-

Friday, September 17, 2010

James Gurney Workshop

As many of you may know I teach at Watts Atelier. On behalf of The Atelier I am pleased to announce that James Gurney, creator of Dinotopia, is doing a workshop/demonstration on October 15th 2010. This is what Mr. Gurney has to say about the workshop on his blog


"October 15, Encinitas (near Carlsbad) California

Come join me for a special half-day workshop at the Watts Atelier,founded by academic master Jeff Watts. I’ll be offering an information-packed afternoon with two lectures and demos, and lots of discussion and Q and A.



Lectures include:
“Plein-Air Pioneers.” History and modern practice of plein air painting and sketching, with detailed illustrations of my oil, watercolor, and oil set-ups.


“Color and Light.”An hour-long illustrated talk covering the key concepts most useful for realistic painting. I'll have an advance copy of the new book, but sales copies may not be available quite yet.

Plus, a portrait demo using water-soluble colored pencil sketching and water brush technique.

The fee is $45.00. Space is limited and quickly filling, so be sure to sign up soon. Watts Atelier can be reached at (760) 753-5378."

For anyone who can make it, I can't recommend this enough. Plus I will be there, and it would be great to meet any of you that I have not met before, and to see any of you I have not seen in awhile.

Thursday, September 16, 2010

Inspiration: Mike Hill

I have done some sculpture, but I am not a sculptor. I love the work of many of my contemporaries, but I am more often inspired by those who have come before. So this months inspiration will probably seem out of place, but what is more inspiring than something that gives you a greater appreciation for something outside of your comfort zone? All that being said, Mike Hill's monsters do kick unholy ass.

Keep in mind, these are all sculptures, with the exception of the fellow standing in between Lon Chaney Jr. and his alter ego below. That is Mr. Hill himself. You can see more of his work on his outdated webpage Mike Hill Artworks



Biography

Michael E. Hill was born in Cheshire, England. From an early age he developed a passion for the fantastic whether it be comic books, television or movies. Escapism wasn't a word he knew then, but he dreamed of a fantastic world filled with masked vigilantes, men who transformed into wolves and Islands ruled by giant apes. From the age of four Mikes artistic ability started to shine and he began to draw the fantastic images he adored.


Mike's one unique trait was to question how and why these characters looked and behaved the way they do, always over thinking!

"I would ask myself and others crazy questions. What did King Kong do all day, when he’s not fighting dinosaurs and wouldn't he be scarred from head to toe, with all those prehistoric creatures he had to battle? And really puzzling details like, how come we can’t see Spiderman’s web shooters beneath his costume, or his ears…or his underwear? Or stuff that still bugs me to this day, when a werewolf turns back to a man where does all the fur go? Does he lose his teeth fillings? People looked at me as if to say, "Son, you've really got problems"


Mike's passion still remains the same...over thinking the impossible! Through his art, Mike hopes to share with his audience that little boy's dreamland and maybe answer some of his own questions.

Tuesday, September 14, 2010

New Warcraft TCG set: Icecrown

A new Set for the Wow TCG was released today, these are my contributions.











Tor.com Zombie Article

Illustrator Dave Palumbo, recently contacted me about being included in an article for Tor.com about the the influence of zombies in illustration. At the time I thought it would be fun, and now looking at the other people included I am incredibly flattered to be amongst them. Go on over and have a read. http://www.tor.com/blogs/2010/09/favorite-zombie-art-a-gallery.

Illustration by Dave Plaumbo

Monday, September 13, 2010

Interview: Brad Kasten

After posting pictures of my new easel last week I had a lot of people asking me questions about it, and showing interest in purchasing one. I thought the easiest way to handle this was to do an interview with my longtime friend and the designer of the easel Brad Kasten. Brad designs all of the studio equipment for the Sienna Plein Air, Artisan, and Ultra series for Crafttech International. You can purchase them from a variety of retailers including Madison Artshop.


Dead of the Day- When did you first start drawing and painting?

Brad Kasten- I started when I was very young, like most artists I know. I was absolutely obsessed with Star Wars and Legos when I was a kid. Both are probably the reason for being an artist as well as a designer. I would draw and build spaceships, fighter jets, robots, guns, the usual kid stuff.

DotD- What first inspired you create and build your own designs for studio equipment?

BK- I was broke. Early in high school I wanted an easel but I couldn’t afford anything, so I built one. I used scrap wood my Dad had in the workshop, it wasn’t pretty but it worked. In college I shelled out the cash for my first French easel. Five minutes after I had taken it out of the box I was modifying it to fix all the problems I found. After that I decided to just build whatever I needed in the future.

DotD- How does you own background as a painter influence your designs?

BK- I think being a painter is absolutely essential for designing equipment used by painters.
You have to know what painters want and need. Having a painting background gives me the knowledge of the functionality I have to put into all my designs. Knowing what I like as a painter also helps me design new innovations in my pieces. It also helps when you have a lot of very successful artist friends you can bounce ideas off of.

DotD- What was the first piece of studio equipment you built?

BK- The first piece I built was a simple wood easel in high school. After that I built a more complicated painting/drawing desk and taboret for myself. The first piece I built and sold was a wood painting palette.

DotD- Do you have a favorite piece you have designed?

BK- I have a couple. For pure design the Ultra Series Drafting Table is my favorite. I love the combination of straights and curves. I think it’s the most unique drafting table you can find. As far as a functional design I think the new Multimedia desk/easel I built for you is my new favorite. It’s a very versatile all in one unit, the culmination of all my other designs rolled into one.



DotD- Do you have design theory/philosophy that you start with when you start on a new project?

BK- I think every design has to have something new that isn’t available already. If it already exists why bother. What problem can I solve with this design is another vital question. Once I have a basic idea of what I want to accomplish I work on the engineering to make it work properly. I do this with drawings initially but iron out all the bugs with physical prototypes. Once I have the function down I work on refining the design into its finished version. I usually go through three to five prototypes to get it right. By the end I’m surrounded by a pile of mutilated parts laying all over the place. It’s pretty messy business.

DotD- How did you learn to design and build furniture?

BK- My Dad had a woodworking business when I was very young. I was always building things out of scrap wood. I learned to use hand tools and then power tools. By the time I was in high school I had a very good education in woodworking.
As far as design and engineering go I always had a knack for it. It probably goes back to the Lego days. Designing art equipment is actually a lot harder than furniture. A chair or table doesn’t have to move, you just build it and there it is. Painting easels have a lot of moving parts and have to adjust to the user. A lot of my engineering experience came from trial and error.

DotD- How do you approach going beyond form simply following function?

BK- That is an interesting question. Function must always be in the forefront of any working piece of equipment or furniture. If it doesn’t function properly no one cares how beautiful it is. But to me form is absolutely essential in anything you design. I don’t look at my designs as artwork necessarily but I try to make them as pleasing to look at as to work with. It’s always a compromise between functionality and beautiful form. That’s the challenge with any design whether it’s easels or sports cars.

DotD- What are your long term goals?

BK- A few years ago I began working with a company who now manufactures all my designs under their name. It offers me more time to just focus on designing products and not dealing with all the day to day business obligations. In the future I would like to continue to develop new products but also get back to using them as an artist. I have put my painting on hold for a long time; it would be nice to rededicate myself to it.

DotD- To your knowledge, who is the most famous person that owns one of your easels?

BK- James Brolin, Barbra Streisands husband is probably the most famous person. Michael Whelan the fantasy illustrator also purchased my easels. There was also a United States Senator who bought an easel, I remember that the shipping instructions were very complicated and a huge pain in the ass. That’s what happens when you work with the government I guess.



DotD- What is your favorite cartoon?

BK- That is a profound question with a complex answer. I love cartoons and have many favorites. Batman and Batman Beyond, a wide range of anime, and I love every incarnation of Tenchi Muyo. Any cartoon where five hot alien girls shack up with a teenage boy has to be good.
But my all time favorite cartoon is Robotech. I remember racing home to watch it after elementary school. It was by far the most amazing thing I had ever seen and had a profound impact on me. It is probably the main reason I fell in love with art, and aside from Star Wars is why I love Science Fiction and Fantasy so much. I haven’t seen it in years but to this day I can clearly remember almost every episode. That show will always have a special place in my heart.

Friday, September 10, 2010

Palette Layout

There are many ways to lay out a palette, the most important things, in my opinion, are order and consistency. I generally like to have a warm and cool of each primary (red, yellow blue), and at least one of each secondary(orange, violet, green), tempered with a few earth tones(raw umber,yellow ochre, etc.) for convenience. Here is my current palette and how I lay it out.

I like to lay-out my palette from right to left, warm to cool. While the colors may change slightly from painting to painting the lay-out always remains the same, so that I do not have to dedicate part of my thought process to finding colors. Starting on the right (all colors are Winsor & Newton unless otherwise noted) titanium white, cadmium lemon, cad yellow, yellow ochre, cad orange, cad red, permanent magenta, transparent red ochre (Le Franc), raw umber, winsor violet, french ultramarine, cerulean blue, space blue (Le Franc), cobalt turquoise (Grumbacher), sap green (often replaced by viridian if I need a more chromatic green), ivory black. I sometimes lay out a separate worm of titanium white off to the side for pure highlights.

I have the postcards there to help me key my colors (this is a total lie, I am just a geek who really likes Mike Mignola's work)


Monday, September 6, 2010

New Easel

Hey all,
I recently got a new easel. It is basically a drafting table/easel. The top can tilt up and down at pretty much any angle you want, it has arms (these are easily removable) to hold smaller paintings in place on the drawing surface as well as a bridge that goes over the painting to rest your hand on. Also for larger paintings it has extending easel style arms for holding a painting up to 60 inches tall. I tried it out yesterday and it is perfect.




Wednesday, September 1, 2010

Watts Atelier Fall 2010 Brochure

Click the image to download a PDF, and I look forward to seeing some of you in class this fall.