I've mentioned before about these three pieces being a monument to my indecisiveness in that I started with one idea I wanted to do, missed it three times, but ended up finding enjoyment in the three new directions.
Here's a sample of the painting for the first two. I'm holding on to the third for now. I think it's the best of the bunch. They all started with ambitions to be a rendering of St. George and the Dragon.
This second one here is a mess in the watercolor. Points to you if you can figure out what the heck is going on. It'll make sense once it's done. I promise.
I've got to be done with these by the end of the month because I'm on a tight schedule to start the month of September working on a piece for Flight. I was recently invited to contribute to the anthology. I'm tremendously honored for even just being invited so there is no way I'm not going to pour everything I've got into it. I'll be posting progress of work as I am able in the coming weeks and months.
But, until then I've got to keep on these beasts till they are out the door.
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In other news, my t-shirt design voting is going well! It remains to be seen if it will lead to a win but I'm pleased none-the-less.
While there is a tidal wave of awesome shirts to be found on that site, I've discovered an undeniable amount of bad work. From ugly art to flat-out poor ideas, just a few moments browsing will show the truly fantastic standing in sharp contrast to the bad.
There's more than a few people who slap on bright 80s colors, toss in a skull, and call it a day. It's as if some just perceive a formula, hop on the party line and phone it in rather than really making something.
I guess it's not all that important and I don't mean to knock anybody, but still, wouldn't you rather make something genuine than try and tailor your work? It's the old idea that if you cram your portfolio with what you think a client would want to see you'll be stuck doing that forever, but if you fill your portfolio with work you love you will get more work you can love.
I've received one extremely kind comment in particular about my design by a guy called "eternyl" that I wanted to post here:
"now this is just cool….not obnoxious or trendy…but classic and well executed."
That about sums up what I hope this shirt to be. Thanks again to everyone that has voted!
Voting will still be open for another month or so (as I understand it) and my shirt could potentially win any one of those days. Thank you! Vote!
2 comments:
It's very interesting seeing the progression on these series, love how you add all those textures to emulate clouds and smoke. http://4.bp.blogspot.com/_n-ECjCc74vk/SLK8qRUOWCI/AAAAAAAABhU/8Pa9wTTFSM8/s1600-h/g3.jpg
I just wanted to ask you two things:
what kind of scanner do you use?
and, I know that you scan the drawing first and then scan the painting but when you overlap these two layers in photoshop, how do you avoid getting duplicated lines?
Hey Oliver. We've got an Epsom 11x17. Mostly I can get stuff in 2 or 3 scans and put it back together.
I end up putting the line work back on the watercolor. I drag the lines back over into photoshop and do my best to line it up. The paper will have buckled some so it's not perfect. I'll lasso tool around where there's an imperfect line and feather the selection a little and nudge it around until I get all the lines right. It just takes time. Depending on the size of the piece i usually get this part done in 15 - 20 mintues.
It works nice for me because I really like having the textures and keeping the lines strong.
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