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so my leaping guy now has some color and i am adding some shadows and highlights in the buildings. Was thinking about adding his own shadow on the buildings but I feel he's too high up in the sky for that to look 'real'.
This isn't the final color palette which gives me a bit of anxiety. I've got more than 10 colors in there already and I have no idea how I'm going to simplify it down to just 4. I just don't like simple. I like complex and detailed.
I am planning on finishing the poster tonight. I am guesstimating about 5 more hours. Don't know if that will actually happen because my eyes are exhausted. So much to do. The weekend isn't long enough.
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Further progress! Drawn by hand then fixed up and tweaked in illustrator.
The orange and yellow are just place fillers to give me an idea of how the piece will look when it's not b&w.
This poster has to be a 4-color process print and since I've never had to work with such a limitation before, I will have to think carefully about my color choices.
More on this later before the weekend!
NPDA stands for the National Portfolio Design Association and the poster is done to advertise for the event.
Here's a very quick digital concept sketch of my idea.
click on the image to see detail
I really love the look of water color, but find it very hard to control and very easy to mess up.
I must admit I've ruined a few drawings before while working with watercolors, when I realized that a wash has flown into a another that was not yet dry.
I have an OCD when it comes to colors so I drive myself crazy with watercolor paints since the washes can be so unpredictable.
Illustrator makes it easy to create drawings in this style and I am able to change the color scheme in seconds.
It's hard to believe I didn't know Illustrator at all just a few years ago, now I couldn't live without it..
Now if only life came with a command+z button!
Here is the sketch in the beginning stage:
I then pull the drawing into illustrator and lock that layer. On a new layer, I use the pen tool to put down a "wash" of color over the entire image. I set the transparency to about 30-40% for that shape.
It's smart to name layers if the illustration is complicated and requires a lot of different shapes in case you want to go back and make changes.
It's also good to experiment with different colors and transparencies to see how they create color combinations in layers. With a drawing made in this style, I continue to create shapes and work out a harmony between the colors, constantly changing and tweaking until it's satisfactory.
More on this later during the week!
I realized that most of my Prismacolor markers are almost out of marker juice a few days ago. That means its time to make my monthly trip to the art supply store to replenish my art bin and buy the whole darn place again. Also on the list... color PLAKA! I'm truly obsessed with it. It's a milk-based paint that dries to the most perfect velvety matte finish and shows no brushmarks. It's kind of like gouache but much easier to handle.
* I wanted to mention that I was too lazy to look for my Microns for the b&w sketch so I used a regular Uniball pen and regretted it. The water in the markers sent the pen ink washing around and mucking up my drawing. That is why you're not seeing a scan of it. ; )
When using water-based pigment, you must erase all graphite and use a water-proof ink to keep your colors brilliant.
The finished drawing was quite large, about 24 inches tall. I gave it away as a gift to an ex-boss for her Birthday a few years ago when I was bartending at The Wine Gallery in Queens.
I was just contacted by a guy who used to be a regular of mine at that place and he said that the Wine Gallery has just closed down. It was sad news to me because I used to adore that place. The people I worked with were wonderful. I will miss it.
Irene (my ex boss) framed and hung the drawing right across the bar for everyone to see. Now I wonder what's happened to it and if it will ever turn up anywhere. It's quite a shame that I only have a 72 dpi photograph of it on my dad's computer.
Lesson learned... save high-quality digital copies of every special piece.
I already noticed that my colors changed a little since I converted the file from .ai to .jpeg.
Nevertheless, I am quite happy with how this turned out.
Stay tuned for my next illustration of one of my favorite DJs Amon Tobin. Here's a little rough sketch of it:
Managed to squeeze in a little self-portrait.
Done from my glazed-over reflection in the mirror.
Back to work.
I started thinking about my E-Moticos Project that's due on Friday this afternoon while Bill Deere was talking for forever.
Hm : \
Still gathering ideas. Feel like I should watch Ray Johnson's documentary again.
These are some sketches of banner ideas for the mass weekly e-mail that I will be sending out to people that are based on interesting and weird events happening all over the world. It shall be a weekly illustrated thing.
For lack of better wording..
p.s. if you're not seeing the pic, switch browsers.
The sketch is of actor Sam Riley. Pen tool in Illustrator. Reference photo thanks to google.
So I have decided to color this drawing digitally in Illustrator. It's taking an amazingly long time but I've got another week before deadline so I actually feel good about taking my time to do it carefully.
I am working in transparent layers of about 45% while mapping out shapes using the pen tool. I decided to keep the palette pretty neutral because it seems to fit very well with the book's subject matter.
While in the initial drawing of the illustration, I worked on the top-most "layer" first, in this step, I work on the background first and leave the main figures for the end. I'm not really sure why I work that way, but it seems to make sense to me.
The next step would be bringing the image into Photoshop and kicking up the line art a little.
I am still working on the book cover I wrote about last week, so check back to see the finished version later on. In the meantime, I am just trying to keep my hand limber by drawing little things here and there because inking and coloring really does cramp my hand right up.
Here I picked up the graphite with an eraser.
Here, I used Microns in different sizes to fill in the details, like the girl's stockings and the guy's ribbed sweater.
This was colored quickly with Prismacolor markers.
Sorry for the bad quality of these, I had to take photos of my progress in really weak evening light.
The first step was brain-storming about the concept of the image. I decided to illustrate the novel's main characters as I imagined them, riding freely on their bikes through the antique streets and squares of Amsterdam.
Taking the rough layout to a light table, I carefully drew out the entire image in graphite on a separate sheet of paper that I placed on top. The next step would be inking using my Micron pens. This step is great to do in a non-photo blue pencil because it makes for easier clean-up in Photoshop.
After carefully picking up some of the darker graphite areas with a kneaded eraser I began using a Micron pen in size 02 to map out the lines and outline the shapes on the top-most "layer".
Updates of coloring is to come in the following week.