not anything more then adjusting the levels,the contrast i don't have the patience to try and make sure every line is crisp beyond what i do on the actual paper
-->> .. aside from the obvious differences tech-wise, is there a difference in the feel for you.. going back and forth between more traditional pen and ink stuff to the tablet ?? Or does it flow pretty easy ??
hmmm. it really depends on the job at hand. But i think it's mostly getting comfortable with the tool your using whatever it may be. My approach to tools whether it's pen nibs, brushes, paints, a cintiq, pencil is find out the differences in the tools and take advantage of its differences and sort of play to its strengths , so for me each tool sort of changes the type of drawing i do and to a certain extent the style. If you are steadfast in drawing a very specific way and looking to replicate that no matter the tool, take a cintiq for instance,I think it maybe more difficult. But i'm pretty comfortable switching gears with the few tools i have gotten more familiar with
-->> ..and the ' HARMON - Style ' i guess form what work i've been exposed to .. and whatever i may , you may , or others may encompass within' that style does seem to overlap in the different mediums digital - or non. not trying to play 20 questions Just fairly curious as to approaches.
I have not worked with a WACCOM in so long, curious as to how my more manic arm and wrist would take to it.
Traditional means is more accessible at this current time.
Some people were so ' Shocked ' ( well as it were )that i'd used some fairly basic things on the small piece i had in Tales 48 that while used the gammut of design markers, inks, and acrylics on the piece were utilized .. correction pen, crayon and magic marker were also used for whatever shading or light effects or whatever i felt i could achieve with these things.
People were also suprized that it was in grayscale. They were convinced that some color sucked out.. but no i did do it to the B / W state of the book.
I dunno. I ask allot of questions not just out of curiosity .. but as to overall lack of control.
Many are frightened by my work as it ever becomes so much more refined, especially within' the past 3 years .. (at least as refined as i can continue to make it) i think my frustration level for the work being shunned has reached it's tipping point.
I'm wondering if some better tools WACCOM, nibs .. others .. and investment may be a key to applying some fresh approaches to style. I am not sure.
I do stand in awe .. you have a control that's almost Japanese ..
it's no problem at all I'm more then happy to answer your questions. thanks for the very kind words, I love the Japanese aesthetic, design, illustrators you name it so that's cool to hear. I had similar responses to mora in terms of people thinking it was a color work simply printed in black and white. I think it's just america's fixation with books needing to be in color. Art is always frustrating. You never see your work getting to the level you want or the level of those artists whose work you admire, that's a frustration that all artists share. I think finding the right outlet for your work and having a place to focus may help. Do you want to do comics? comic covers? fine art? illustration? storybook? From there it helps to dictate what tools maybe helpful, what approach to take. I know in school trying to come up with subject matter for an illustration was really difficult because my ideas were always story related and when i didn't have a story or character to focus on the end result for the illustration was usually an aimless clumsy attempt at something i wasn't really passionate about. When it comes to art it's really important to work where your interests are.
P:it's no problem at all I'm more then happy to answer your questions. thanks for the very kind words, I love the Japanese aesthetic, design, illustrators you name it so that's cool to hear. I had similar responses to mora in terms of people thinking it was a color work simply printed in black and white. I think it's just america's fixation with books needing to be in color. Art is always frustrating. You never see your work getting to the level you want or the level of those artists whose work you admire, that's a frustration that all artists share.
-->> .. thanks, i don't always hear that. I appreciate that i am not alone in that regard.
I think finding the right outlet for your work and having a place to focus may help. Do you want to do comics? comic covers? fine art? illustration? storybook? -->> ..it might be , at the moment ..the need to focus on 'Fine-art' side of things.. and the hope for pin-up/possible cover work.
Kinda waiting on a small project for Ryan in regard to the C O W Boys. But that property is kinda a little bit more ' cult-ish ' i guess compared to their more BROAD-ER of a franchise Turtle cousins. So it seems.
From there it helps to dictate what tools maybe helpful, what approach to take. I know in school trying to come up with subject matter for an illustration was really difficult because my ideas were always story related and when i didn't have a story or character to focus on the end result for the illustration was usually an aimless clumsy attempt at something i wasn't really passionate about. When it comes to art it's really important to work where your interests are.
-->> ..some of the personal digital pieces,comics , customs, puppets and sculpts ect. will be a constant .. i think with just a little too much of everything and so many interests and skills, while i am thankful i have it under my belt .. you are right - a focus is pretty imperative.
Sequentially .. it's not clear and in some regards even doubtful Dan or anyone would take a chance on me for a project. But i mean on the comic side if cover / pin-up work is an option ( as that side door has kind of opened up to me ) then i am greatful for that.
Story-telling sequentially is even different in approach with anything i do, and well that's a whole other monster.
This year has been supremely tough and it's a matter of me really trying to pull my head out of my ass. So .. - - oi.
trying out the new ink nibs
8 comments:
-->> ..so after inks n' messes you are cleaning these up in the software ? ?
>v<
not anything more then adjusting the levels,the contrast i don't have the patience to try and make sure every line is crisp beyond what i do on the actual paper
-->> .. aside from the obvious differences tech-wise, is there a difference in the feel for you.. going back and forth between more traditional pen and ink stuff to the tablet ?? Or does it flow pretty easy ??
>v<
hmmm. it really depends on the job at hand. But i think it's mostly getting comfortable with the tool your using whatever it may be. My approach to tools whether it's pen nibs, brushes, paints, a cintiq, pencil is find out the differences in the tools and take advantage of its differences and sort of play to its strengths , so for me each tool sort of changes the type of drawing i do and to a certain extent the style. If you are steadfast in drawing a very specific way and looking to replicate that no matter the tool, take a cintiq for instance,I think it maybe more difficult. But i'm pretty comfortable switching gears with the few tools i have gotten more familiar with
-->> ..and the ' HARMON - Style ' i guess form what work i've been exposed to .. and whatever i may , you may , or others may encompass within' that style does seem to overlap in the different mediums digital - or non. not trying to play 20 questions Just fairly curious as to approaches.
I have not worked with a WACCOM in so long, curious as to how my more manic arm and wrist would take to it.
Traditional means is more accessible at this current time.
Some people were so ' Shocked ' ( well as it were )that i'd used some fairly basic things on the small piece i had in Tales 48 that while used the gammut of design markers, inks, and acrylics on the piece were utilized .. correction pen, crayon and magic marker were also used for whatever shading or light effects or whatever i felt i could achieve with these things.
People were also suprized that it was in grayscale. They were convinced that some color sucked out.. but no i did do it to the B / W state of the book.
I dunno. I ask allot of questions not just out of curiosity .. but as to overall lack of control.
Many are frightened by my work as it ever becomes so much more refined, especially within' the past 3 years .. (at least as refined as i can continue to make it) i think my frustration level for the work being shunned has reached it's tipping point.
I'm wondering if some better tools WACCOM, nibs .. others .. and investment may be a key to applying some fresh approaches to style. I am not sure.
I do stand in awe .. you have a control that's almost Japanese ..
i really wish i had that.
Really.
>v<
it's no problem at all I'm more then happy to answer your questions. thanks for the very kind words, I love the Japanese aesthetic, design, illustrators you name it so that's cool to hear.
I had similar responses to mora in terms of people thinking it was a color work simply printed in black and white. I think it's just america's fixation with books needing to be in color. Art is always frustrating. You never see your work getting to the level you want or the level of those artists whose work you admire, that's a frustration that all artists share.
I think finding the right outlet for your work and having a place to focus may help. Do you want to do comics? comic covers? fine art? illustration? storybook? From there it helps to dictate what tools maybe helpful, what approach to take. I know in school trying to come up with subject matter for an illustration was really difficult because my ideas were always story related and when i didn't have a story or character to focus on the end result for the illustration was usually an aimless clumsy attempt at something i wasn't really passionate about. When it comes to art it's really important to work where your interests are.
P:it's no problem at all I'm more then happy to answer your questions. thanks for the very kind words, I love the Japanese aesthetic, design, illustrators you name it so that's cool to hear.
I had similar responses to mora in terms of people thinking it was a color work simply printed in black and white. I think it's just america's fixation with books needing to be in color. Art is always frustrating. You never see your work getting to the level you want or the level of those artists whose work you admire, that's a frustration that all artists share.
-->> .. thanks, i don't always hear that. I appreciate that i am not alone in that regard.
I think finding the right outlet for your work and having a place to focus may help. Do you want to do comics? comic covers? fine art? illustration? storybook?
-->> ..it might be , at the moment ..the need to focus on 'Fine-art' side of things.. and the hope for pin-up/possible cover work.
Kinda waiting on a small project for Ryan in regard to the C O W Boys. But that property is kinda a little bit more ' cult-ish ' i guess compared to their more BROAD-ER of a franchise Turtle cousins. So it seems.
From there it helps to dictate what tools maybe helpful, what approach to take. I know in school trying to come up with subject matter for an illustration was really difficult because my ideas were always story related and when i didn't have a story or character to focus on the end result for the illustration was usually an aimless clumsy attempt at something i wasn't really passionate about. When it comes to art it's really important to work where your interests are.
-->> ..some of the personal digital pieces,comics , customs, puppets and sculpts ect. will be a constant .. i think with just a little too much of everything and so many interests and skills, while i am thankful i have it under my belt .. you are right - a focus is pretty imperative.
Sequentially .. it's not clear and in some regards even doubtful Dan or anyone would take a chance on me for a project. But i mean on the comic side if cover / pin-up work is an option ( as that side door has kind of opened up to me ) then i am greatful for that.
Story-telling sequentially is even different in approach with anything i do, and well that's a whole other monster.
This year has been supremely tough and it's a matter of me really trying to pull my head out of my ass. So .. - - oi.
X{ ..it ain' easy. Heh ..
"Rectum .. darn near killed'em." >v<
mike leo don raph.
love seeing the variation
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