Showing posts with label drawing. Show all posts
Showing posts with label drawing. Show all posts

Friday, March 14, 2014

What Music Makes YOU Happy?

This is a bit of a different post for our blog, but I think anyone can argue that for most of us, music aids creativity! A few days ago, I polled Twitter to find out what songs simply make people...happy. When you're happy, you're confident, and your creativity just flows. 

I thought it would be really fun to compile everyone's song suggestions into a playlist. It turned out so awesome, I just had to share! 



There's something for everyone, enjoy!!
A special thanks to these rockin' awesome tweeters for participating:


And, as always, you can follow us on Twitter at:

Monday, February 10, 2014

Keep drawing, then draw some more


A few years ago, I was fresh off maternity leave…10 years of it. I thought I'd pick up my illustration career where I left off. Well, while I was 'away', the world changed. Internet? Whoa. Now I was competing against illustrators from all over the world! Quite a few with animation backgrounds who could draw like nobody's business. It was clear I'd have to step up my game. I needed to get much, much better at drawing. Gulp! Luckily, I met local illustrator, Tracy Bishop whose drawing talent is amazing. She also has a great critical eye. She got me drawing from life. She critiqued the heck out of my work (still does), and gradually, I got better. I am by no means done. I hope to always improve my skills. But I'm starting to breath easier. I beginning to really feel the flow when I draw. I don't cringe when I look at my current work. It's been a very discouraging process, but also pretty exciting.

Older drawing on the left, newer on the right. Getting there, but not quite where I want to be yet.

It's no surprise that I love drawing animals, but drawing people was not fun for me. I've made a lot of progress on this front as you can see here. There's just much more life in my animals as you can see below.



Drawing well has many benefits like getting hired for jobs, being able to handle whatever scene you'll need to create, and of course, you can't bring a story to life if you're limited in what you can draw.

What I want you to take away from this is that you must draw well, really well, to get work in the children's book world. You can't cut corners. You can't trace photos, you can't overly depend on reference. Draw everyday, even if it's bad drawings, it all helps. Carry a sketchbook everywhere. (I need to do more of this myself.) Think of the training that goes into qualifying for the Olympics or playing college or pro sports. Heck, even if you're just working on staying in shape, you have to work those muscles on a regular basis.

If you go to SCBWI events (and you should be), pay for a portfolio critique. Nothing beats hearing from someone who actually hires illustrators and can tell you what you need to work on. Our local Illustrator's Day has an illustration professor who give critiques, too. He's crazy amazing at seeing the weaknesses in your work and what to do to fix it. It's painful, but much kinder than in art school. Hearing nothing but flowers and light about your work gets you nowhere. You need the truth, because that's the only way you're going to get better and someday get hired. If you want nothing but compliments, show it to your mother.

Here are some great resources for improving your drawing skills, but remember, nothing replaces the practice and observation of real life.

There's so much drawing goodness on Erika Eguia's Pinterst boards! I've started a Character Design board here.

Great drawing books:
Drawn to Life Volume I & II
Character Mentor, Tom Bancroft
Creating Characters with Personality, Tom Bancroft
Vilpu Drawing Manuals, Glenn Vilppu
How to Draw, Scott Robertson

Online classes & tutorials:
School of Visual Storytelling's How to draw everything with Jake Parker
Figure & Gesture Drawing
Sparkbook, Cedric Hohnstadt
Illustrator Alicia Padron is now offering classes.

Good luck and happy drawing!

Monday, November 11, 2013

Pushing a New Style: Photoshop Process GIF

When it comes to creating art for deadlines, my current weapon of choice is my Wacom Cintiq. But last week, I had a serious urge to grab a (real) pencil and put it to (real) paper beyond a simple sketch.

I decided to do a piece that will hopefully become one in a series of paintings based on classic fairy tales. 

I cracked open my sketchbook, cranked up some Henry Jackman music for some dramatic ambience, and got to sketching!

I got the drawing pretty far along and completed in my sketchbook, then scanned it into photoshop for some minimal refining. My goal was to remind myself that I can draw and that I don't have to rely on the Undo button to create my art. I'm really focusing on trying to create portfolio pieces that incorporate more traditional media.

So, a quick rundown of how I did it (it's very basic):

The cleaned up drawing was set to a multiply layer on the top of the others and the coloring was done using flat blocks of color on subsequent layers. Being that I tried to get all the darks and lights figured out in the pencil drawing itself, only minimal highlights were added to the color. After that, some glows were added on top of all the layers, and that’s it!

I had amazing fun doing this and can’t wait to sink my teeth into more!

Until later!

~christina

Monday, June 17, 2013

Drawing Movement



 When I first start a drawing, I'm not thinking about how things look or where each element is placed. I think about how everything in the space moves and where they are going so I can tell the story.

A lot of times my initial drawings are unrecognizable squiggles and blobs. I'm trying to capture the motion and energy of the entire illustration.  I want to keep the initial sketch as loose and exaggerated as possible so a lot of the liveliness will carry through to the final painting.

To me, this messy stage is the most important. The temptation to just skip it and dive right into the fun details like the character's face is so tempting to me.  Experience has taught me that most of the time if I skip this stage, I pay for it later. It's too easy to end up with a painting that is just pretty but lifeless and stiff. Trying to get the life and energy back after this point is like wading through mud and just never happens most of the time.

Another reason why I want to keep the very start of the process looking like a mess is so I won't treat it like a precious thing. As long as it's just scribbles, I can make the marks quickly and throw them away if it's not working.
I try to keep on improving drawing motion by sketching from life whenever I can. I do quick gesture drawings of people to capture their movement and personality. A lot of time these gesture drawings are quick marks made in 15 seconds to a minute.

Doing a lot of these quick sketches make my sketchbook look like a mess. I keep on reminding myself that it's ok. As an illustrator, it's not good enough for my images to only be pretty -- they need to be alive.


Here are some resources for practicing gesture drawings:

Thursday, May 9, 2013

Getting Unstuck Part 1


Some days my sketches flow from my pencil effortlessly. My pencil dances across the page like Fred and Ginger. I can’t draw fast enough to get all of the ideas out of my head and onto paper. I start to believe it will always be this way. I can go on like this for days or weeks at a time. But then comes the inevitable crash. The brakes screech and, quite suddenly and without warning, it happens. I completely forget how to draw. Nothing works. I’ve fallen flat on my face! Every line is stiff and awkward. Where just the day before I held my head high and created with ease, now there is only the dreaded Ugly Drawing, misshapen and taunting me. This tends to occur for no apparent reason. Other times it’s a result of a less than encouraging portfolio review at a conference or when I’m not getting projects and stop believing in myself for a moment.

Doing nothing is one option, but I don't think it's the best one.

We all know, or at least should know, that drawing is like working out, if you don’t keep up with a regular schedule, your skills start to atrophy. The question is, what do you do when you hit this all too frequent wall? The answer may be burn out. Getting out of the studio and into nature or an inspiring boutique or museum is a great idea, but what if it goes on for too long? I’ve been struggling with working on improving my drawing skills, especially when it comes to drawing people, for a while now. I’ve acquired some wonderful books to help me with that. I go out on a regular basis and draw from life. I have a lot of sketches of the backs of people watching volleyball from my sons’ games as a result. All of this is great, but sometimes it just doesn’t work.



Tracing of Tony Fusili's work. He is a master!
The best trick I’ve found for getting past this stuckness and improving my drawing skills at the same time is to trace the art of some of my favorite illustrators. Except for this blog post, no one ever sees these tracings. They’re purely an exercise for me. I don’t just trace the outline, I use a blue pencil and draw the action, gesture, and shapes, and then complete the sketch. It’s amazing how much you can learn from doing this. No amount of staring at the sketches replaces the actual drawing of them. Doing this keeps me using me in shape for drawing even when my brain and hand refuse to communicate. Connections are made that carry into my own drawings. This is huge! I’m telling you I have learned so darn much! I can force myself to continue to make ugly drawings, which I do, a lot, or I can give myself a bit of a break and trace something inspiring.

Tracing of LeUyen Pham's work in Vampirina Ballerina

The next time you feel stuck, go grab a picture book you love and try it! You’ll be awed and amazed, trust me.

Happy Drawing!

Laura

Book List:
Creating Characters by Tom Bancroft
Character Mentor by Tom Bancroft
Prepare to Board! By Nancy Belman
Drawn to Life I & II by Walt Stanchfield

Monday, April 29, 2013

From Sketchbook to Screen: Color

In my last post, I detailed how to get your scanned sketch to a workable level in Photoshop. This will be sort of a continuation of that, but in color

I recorded a demo of myself painting the sketch below and, though it was intended to be only 10 minutes long, I ended up going on and on for about a half hour! I don't expect that everyone would want to watch that, so I sped it up to 3 minutes and added a Huey Lewis tune! WIN.

In the long version of the demo, I show how to use levels, multiply layers, and use brushes to get a softer look. In this shorter version, you really just see some color decisions fly by!


Sketchbook Painting Demo (3min) from Renee Kurilla on Vimeo.


Here are some of the brushes I use:

Useful tips mentioned in the long version:

  • To quickly change the line color of your sketch, select the line and hit CMD+U (Hue/Saturation), check the "colorize box"
  • If you paint with the pencil tool instead of the brush tool, the autofill is MUCH better.
  • Layer Lock: Lock Transparent Pixels is AWESOME. 
  • You can also use Blending Modes on a layer above your sketch to colorize your line, but it effects all colors underneath the layer as well. 

Learning Curve:
Even though the long version is 30 minutes, if I were painting this for a paying job I'd definitely spend another few hours finessing details. I think spending those few minutes ahead of time colorizing your lines is worthwhile.
If I had known I'd end up colorizing this sketch, I might reconsider how much pencil shading I add. I found as I was coloring that it was very difficult to select sections to "colorize" because of the thick shadows. The shading also makes some parts of the piece very dark (her shirt, hair, the little bear nook).

Noteworthy: Someone who really has this technique down is UK based illustrator, Alex T. Smith. His work is phenomenal and lively, so talented! His latest blog post actually shows a before and after pencil sketch turned color.

You know what the real secret ingredient to all of this is... (drumroll please)

Patience.

-------

*If you'd like to watch the long version of my demo in which I say "Umm." 2,000,345 times and immediately go back on my promise to label all my layers, I've made it available on my Vimeo page, here. :)

Thanks for reading, and as always feel free to comment below and ask questions!

Cheers!
~Renee

Tuesday, April 16, 2013

From Sketchbook to Screen: Black and White

My last post was about how I've been trying to get back to my painting roots and become less of a digital artist. Besides attempting watercolor, there are other ways I go about trying to accomplish this: One of them is by using scanned a page from my sketchbook in a finished piece. To explain how I go about this very tricky business, I'm going to show you the scary inner workings of my Photoshop layers for this illustration:

Jody from The Yearling is REALLY just crying about how messy my Photoshop layers are.

*I can go into more depth, but to keep it simple I'll start with just black and white art. Next time, I'll go into the beast that is color. 

This particular assignment was for the most recent SCBWI Tomie dePaola contest in which he asked for a black and white piece. I had just read this interview with Jon Klassen (author/illustrator/Caldecott winner) over on Seven Impossible Things Before Breakfast. The way he describes his own process is very much an organic blend of making shapes and positioning them together digitally. I thought this would be a great way to practice combining both traditional and digital media in my own work.

So, to get started, I read The Yearling... SOBBED my eyes out, composed myself, chose a moment, and finally then started sketching. My ideas came out in pieces: Jody, the bitterns, the forest, ducks, the pond, grass, plants, weeds, etc. Here are some pages directly from my sketchbook, in which I used both a pencil and ink brush pen:





I scanned all of these images at 600 dpi, a nice, adjustable size for my tiny sketches. I knew I wanted to be able to make those inked plants really big and put them in the foreground as silhouettes. That being said, once your image ends up in Photoshop, it'll probably still need some help. Here's what I do:

Adjusting Levels

1. Go to Image > Adjustments > Levels:



2. Move the middle triangle to the right to make increase contrast (making your lines darker):


3. Move the right triangle to the left to brighten the whites:


Now you can copy and paste the pieces into a new file and set the layer to multiply to see only the line. And now I'm ready to show you my monstrosity of a 75 layer Photoshop file (I've had up to 400 layers in one file, btw). This image shows less than half of the layers I used, but you can sort of see (with some layers turned off ) how it works. I positioned the ducks together, overlapped the plant in the foreground, and arranged the wildflowers and rocks into a scene. I normally label my layers, but I must have been in a hurry this time. 

*TIP: If you have a messy unlabeled file like me, you can press "V" for the Move Tool and right click on any object to find the layer it's on. It works better than turning layers on and off until you find the right one. You'll be pulling your hair out by the time you find it. 


Here's a closeup of Jody, who's entire self exists on just 4 nicely labeled layers (sketch, multiple shadow layers, and a white underpainting):


When it comes to the background, one helpful thing to help you fill in details like tree leaves, is knowing how to make a Photoshop brush. It's SO easy. Specifically, here's how I made a leaf stamp for the above image:

How to Make a Photoshop Brush:

1. Create a new file at 300 dpi - good dimensions are somewhere between 200-500 pixels (mine is a weird dimension because I cropped the file when I finished drawing leaves):


2. Make a new layer over the background white and start drawing what you want your brush to look like, in this case - leaves!

3. Once you have your image, delete that white background (by default this layer is locked, unlock it by  OPT+double click):


4. Press CMD+A to "Select All" then go to Edit  > Define Brush Preset...


5. Name your new brush.


6. Find your brush in your brushes palette, select it, and use it!!

 


*TIP: If you click on Brush Tip Shape in the Brushes Window, you can change things like rotation and size, which help to aid the variance and organic quality of your brush. 

7. Make sure to save your original Photoshop file so you can make the brush again easily if you happen to lose it!



And that's a wrap on how to combine sketches with your digital art. I hope this was a helpful resource for some folks, but if you have any questions please feel free to post in the comments. Next time I'll elaborate more on what I do for color images! 

In other news: 
Recently, I was interviewed by the awesome Bill Turner over on his blog, The Tools Artists Use: A fine resource to learn more about many illustrators, cartoonists, comic artists, etc.  

Thanks for reading!

Cheers!
~Renee

Tuesday, April 9, 2013

Moving Outside the Box

Much like Renee previously wrote about in her blog entry, I too, spent a long time painting in oils. I discovered oils in my last year of college and fell in love with their rich, buttery color and texture. By the way, if you're looking for the most scrumptious (figuratively, NOT literally of course) oil paints ever, I suggest you go and pick up some tubes of M. Graham walnut-based oils...the best!

But then...along came my first child in 2006, and given my tendency towards being a messy painter, I decided that having toxic paints around small children was probably not a good move. So, I went completely digital.

For the past seven years, my art has been completely created using Photoshop. And while there are definitely benefits of going totally digital, I've reached the point that I am feeling completely "boxed" in by creating on my Wacom--essentially a 12" square of plastic. So, out have come the pencils, pens, brushes and...PAINTS! 


It's been wonderful to get back into creating art the old fashioned way: there's no Command-Z to rely on anymore!  For me, no "undo" button means happy accidents, which I hope will lead to an energy in my art that I feel gets watered down when I paint with Photoshop. Eventually, I would like to figure out a successful way to merge both digital with traditional methods to create illustrations that match my style.

I can't wait to rediscover art in the traditional sense and share my discoveries here with you all! I'm looking forward to getting my fingers dirty and simply...messing about!

Toodles!
~christina


Tuesday, April 2, 2013

Watercolor my World

It's the beginning of Spring here in Boston, a time of new beginnings and rebirth. There's no mistaking a change in the air when you get that one extra hour of sunlight! In the Spring, I start to reassess where I've been and where I'm going. This year I chose to focus on my art style. Lucky for me to find three talented ladies in the same boat!

As we previously mentioned, the goal of coming together on this blog is to help not only each other, but offer advice to anyone else who might need a lift. I'm thinking of it like a journal. Down the line, there's bound to be a story you'll connect with to help steer you in the right direction.

Here's my first story:

I studied oil painting in school by choice. 15 years ago, I had different goals and different influences, but things change. After school I got a job in the animation industry and suddenly I was a digital artist frantically learning new skills and software, letting my paints dry and crumble. How sad to forget about something you studied in such depth!?

A few months ago, tired of leaving them half full, I started to make myself draw in my sketchbooks. I thought it might be helpful to use Instagram to share photos of my sketches (social media "cheerleaders" are your best friends). Because of the reactions I got, I kept going. I learned to draw more freely and be less dependent on the Cmd+Z.


A few months into posting sketches, I pulled out my Pentel brush pen:


Having that solid pencil sketch made adding a more permanent line actually fun to do. Being able to manipulate a brush pen got me to thinking (uh-oh). 

Here's the conversation that happened in my head:

"I need to relearn how to paint."
"But oil paint is too messy."
"And smelly..."
"What if my cat eats the paint and dies?"
"There has to be another way."
"Water...
...Color"
"!"

It sounds so silly listed like that when actually, over time, I just developed new influences and became more fascinated in a particular picture book illustration style. (A style you just can't replicate in Photoshop, believe me I've tried!) My husband focused on watercolor in school and we had a "Painting Sunday" where he showed me some techniques. Our cat, Timmy, was happy I chose water over oil and so eager to pose:


I kept dabbling for a bit on my own:


Then I discovered a local watercolor class with illustrator, Dan Moynihan. I can't imagine taking a class these days unless the teacher is someone I greatly admire and want to learn from. Dan's style is cartoon. My style is cartoon. Perfect! I was relieved to find that class #1 had us starting from the very basics. There is absolutely no pressure to finish anything and make it look "perfect," which I have been trying to do for 15 years.

I've only been to a few classes so far, but taking a giant leap backwards has been extremely helpful. It can seem gruesome to have to start all over, but it's never too late if you don't freak out (*quote of the day). Patience is so hard to find, I know.

The reintroduction to value and hue studies is one of my particular favorites:


Through this simple test, I'm discovering what colors I like best and realizing I can probably subtract a few from my palette (i.e. second row from the top left - ultramarine and cobalt look close enough to probably choose just one):


My first palette (that I will eventually condense):
-Cobalt Blue
-Ultramarine
-Viridian Hue
-Sap Green
-Burnt Umber
-Yellow Ochre
-Quinacridone Gold
-Cadmium Yellow Hue
-Burnt Sienna
-Alizarin Crimson
-Cadmium Red Light Hue
-Cadmium Red


There you have it, the beginning of my sloooow, messy process of getting back into painting and the end of chapter one. If this ends up being a 25 chapter book, so be it. The second you stop learning is when the creativity stops as well, right? I'll do my best to share what I learn on this blog and I'll definitely keep posting frequent sketchbook photos on Instagram!

Please feel free to leave comments, ask questions, and so forth. I would love to keep the discussion alive!

Cheers!
~Renee