Monday 6 December 2010
Thursday 25 November 2010
Wednesday 17 November 2010
This is the first pen + ink only drawing I've finished in about 5 years!! Twas good fun.
Also, Robin is offering an excellent Xmas bonus pack of FOUR dirty comics for a low low price!
Check out the bumper deal on Sleazy Slice here. For an idea of what's in store for you in the comics have a look at Josh Simmons NSFW Cockbone.
ok, enough selling stuff, more art soon!
Monday 15 November 2010
I used more ref than I usually do with this image, and it turned out pretty well if I say so myself!
I'm trying something a bit different than normal with the sale of this print; there will only be TEN A3 prints available and one A2 AP print. They're going to go on a first-come first-served basis, and once they've gone, they've gone!
Check my print site for price info.
Friday 5 November 2010
And a big plug:
I was recently lucky enough to get hold of a copy of Cinema Sewer book one by Robin Bougie, and I loved it so much I've been going on about it to everyone! Here's some blurb to give you an idea of what it's about...
"never-before-seen interviews, rants, comics, hard-to-find classic movie advertising, and graphic illustrations by myself and a host of my talented friends from both the comic book and animation industry. Regardless of whether you’re is just discovering the world of classic porn, horror, and exploitation movies, or a long time fan from the days when the drive-ins and grindhouses reigned, you’ll find plenty to get excited about, gleefully sloshing around in the filth of the Cinema Sewer!"
If you get it from Robins site he'll do you your very own hand-drawn image in the book!
Go buy it!
Friday 29 October 2010
And then; thursday morning completely plain boring old calf, Thursday night; Blam!
An epic battle of cheerleaders versus zombies taking place on my leg!
Pick did an awesome job and managed to get this whole thing done in 8 hours (ish)
Unfortunately that means no certificate for me :( I'm fairly certain I couldn't have lasted the required 11+ hours though!
Tuesday 26 October 2010
sketch meet up is on! Meeting outside the main exit of Angel tube at 7pm before going onto an as yet undecided pub. If you can't make it for seven, check Picks blog for more up to date info nearer the time. Here's a handy Newman-spotting guide:
Hope to see you there!
A couple of bits of news for you:
Electric Pick is on one of his super-covert spy missions in London, and the plan is to have a meetup at some point this evening for sketching/drinking, so anyone who is interested can come along as well! just bring yourself and a sketchpad!
We haven't ironed out the details yet but it'll probably be somewhere near the Angel around sevenish; I'll post up more accurate info when I have it.
Secondly, I was asked by amazing tattoo artist Joe Capobianco to submit some pieces for his peepshow pinups at hope gallery.
The show's still running so if you live near there go and have a gander, loads of cool artwork on display!
Wednesday 29 September 2010
I recently got asked by Bizarre magazine to do some illustrations for an article about pony play.
The brief was "sexy but humourous", so just the kind of stuff I love doing! Here are a couple of example pics, but if you want to see the rest you'll have to buy the magazine (although you should be buying it anyway cos it's great!)
Wednesday 15 September 2010
Techniques and skills passed down from master to apprentice over the course of centuries, encompassing some of the most beautiful, revered and inspiring art ever created.
Three paintings in, and I'm drawing dirty little minxes with a glint in their eyes.
There is no hope for me.
NSFW version when you click:
Friday 10 September 2010
Just baby steps at the minute (hence the monochrome), I'm going to concentrate on just learning how to push paint around before I start in on colour mixing etc.
Here are a couple of oil paint sketches from photo ref:
From a photo in a fashion mag; my very first (ever!) finished oil paint sketch
This one is from a photo of the Swedish lovely Christina Lindberg. I'm pretty pleased with how this one turned out. probably about 3 hours work.
Don't worry though, i'll be back to drawing pervy stuff soon!
Wednesday 1 September 2010
I've decided to try and get back into non-digital painting with actual paint and stuff, and as part of that process I'm reading the excellent Alla Prima by Richard Schmidt (thanks to Jake for the heads up)
One of the (many!) things he talks about it trying to get a painting right from the get go, painting each section correctly as you go along. One of the benefits of this (he says) is that you can stop at any point and you'll have a technically correct painting. As I normally work completely differently than this; scribbling about initially and then slowly building up and improving as I go I thought I'd give this method a try. I think it can only really apply when drawing from life/reference, as unless you can perfectly and correctly picture your final image in your head before you begin then you've got nothing to paint!
Obviously this is still digital, but I'm at work so what can I do!
done a bit more work on this one:
Friday 20 August 2010
Thursday 19 August 2010
Wednesday 11 August 2010
Monday 9 August 2010
Tuesday 20 July 2010
It's pretty much just straight rendering from here on out, so no more explanatory text I'm afraid! By this stage I'm doing things intuitively (but not always correctly!) so it's quite hard for me to break it down into useful info... sorry!
anyway, here's the art so far, still got a hell of a long way to go...
Friday 16 July 2010
Monday 12 July 2010
Thursday 1 July 2010
STAGE 4 continued:
When I got to the stage where I was happy with the sketch of the four central characters I created a document with the dimensions I wanted (I normally paint on a canvas roughly 5000 x 3000 pixels in size) and pasted them in. Then I spent about an hour just moving and scaling them around the page until they were sat in a space I liked, which ended up being fairly central.
I hate doing backgrounds, I find them really dull to paint compared to characters, but in some cases you just can't do without them. In this painting quite a lot of the "story" is going to be told by the background (house blown down, bath broken etc.) so I've got to put a bit of thought into it. Firstly I drew a load of rough and quick directional lines and circles over the image marking wear the viewers eye flows around the page, and some other lines where I WANT it to flow.
The picture below is a little bit misleading because it looks like I drew the outline of the buildings/furniture etc then shaded it in, when actually it was the other way around. I slapped in some very quick tone using just the direction lines as a guide, the aim being to define and emphasize the characters. Once that was done I went back in and scribbled some rough outlines of a broken house over the blocks of tone. The main thing to point out I suppose is light pigs = dark background dark wolf = light background; this was so neither faction was more prominent than the other but both stood out against their respective backgrounds.
Having got that out of the way (and because I find backgrounds so tedious!) I went back and started working up the outfit of the wolf. I wanted her to have a sort of military/ringmastery vibe. I internally debated for ages on wheter or not to go fully nude; I normally try and avoid it if possible for a number of different reasons which I can't be bothered going into right now. In this case however the wolf just didn't look right with pants on; I like the brazen-ness it gives her character to be (nearly!) fully dressed but still essentially naked.
Then I started throwing some quick and dirty colour in. At this point I nearly threw my wacom pen done in digust and washed my hands of the whole horrible mess. Sometimes things just don't go the way you want them to! I gave myself a bit of a break from the pic and worked on some other stuff for a couple of days.
A few days away gave me a better perspective of where I was going wrong, and I went back in and started tweaking colours. This is a bit too brown/purpley at the minute, but compared to the monstrosity above it's a masterpiece!
Most of the tweaks from now on will be fairly self-explanatory so that's pretty much the end of the written portion of this run through I think. So now when I say "I did a quick sketch and then started colouring it" this is an approximation of the process that goes on. Hope it was interesting!
This is the second pic I did for Bizarre magazines editors page of one of their staff members.
Friday 25 June 2010
Thursday 17 June 2010
I realised today that while I sometimes post process gifs and WIP shots, I always neglect the most important initial parts of a drawing. I've just started work on a new fairytale picture and I thought this would be an excellent oppurtunity to rectify that omission. So without further ado, here we go!
STAGE ONE: THE IDEA
I can't really give any pointers for how to get "the idea" in the first place, as it can come from any number of places; something you see in the street, something you read in a book or watch in a film, or something that just suddenly occurs to you. In this case, my missus said to me "why don't you do a picture of the three little pigs?" and immediately I got a couple of images in my head - a sure sign that it's a good idea!
The next bit unfortunately doesn't have a lot of documentation because most of it is going on my head; pondering situations, scenarios ,positions and compositions etc. I finally half settled on the idea of three "pigs" (cute pink curvy blonde women) who had just been having a lovely bath when the evil "wolf" (tall, athletic scary woman) blew their house down. I considered making the wolf both a big nasty Wolf or a scary man, but as the pigs were going to be really dominated I thought it would be a bit rapey, so went with a woman instead.
During this process I'll normally make a few scribbled notes and doodles on whatever paper I can find lying around. Here's one I scanned in:
All the writing (apart from "dinosaur", I've got no idea where that came from) is stuff that I thought might make good reference or prompts to remind of ideas so I don't forget.
At one point I was thinking of drawing one of the pigs still in the bath, but decided against it eventually. Here are the doodles:
STAGE TWO: INITIAL SKETCH
This is where I actually start the drawing proper. I liked the general composition of the doodle in the first sketch, so I scanned that into photoshop and redrew it in slighty more detail. If you look closely you can see the "cuts" in the image where I've grabbed a section of it in photoshop and pulled it around to a postion I like.
At this stage I'm still not entirely settled on anything, just doodling around the image trying to get shapes I'm happy with. It generally involves putting each character on a separate layer in photoshop and scaling them around, changing limb positions and so on. Once I've got a composition I think will work and an idea of how I want the final image to look I'll move onto the next stage.
STAGE THREE: REFERENCE GATHERING
I should say that I don't actually think about this process in stages, I'll just do it as I find necessary. I might get reference first, or not at all. Sometimes I go straight into drawing in Photoshop and skip the doodling stage altogether. I'm just writing it out this way because it's a general approximation of how I work and makes it easier to read. Okay, so, stage three.
This is the part where using all the ideas, sketches and notes I've got so far I'll start googling for images that might be useful. This can range from images that might be good for anatomy to stuff that might have the "look" I'm aiming at for the final finish. For this image I ended up with a ton of stuff ; old master paintings, disney images, pinup photos, nature photography and more. I probably won't use half of it but even just looking for it is useful because it helps solidify in my head exactly what I want the picture to look like. I normally keep all the images separate or paste groups of them together in one image (ie "wolf", "laying pig" etc) but for the purposes of demonstration I've pasted a few of them over the sketch so you can see the relevance.
Now's the time when I stop procrastinating and doing all the things I do to distract myself; "accidentally" looking at porn when I'm reference gathering, writing process essays that no-one will ever read and anything else I can and will do (unintentionally normally; I LIKE drawing!) to delay actually getting started. Just straight drawing from now on! Using all the initial ideas and all the reference I've gathered I'll start tightening the loose sketch up and trying to fix any composition and anatomy issues. For example you might notice that the previously standing pig is now kneeling. That was because I wanted her head at a certain height for the composition, but she just looked too short and stunted standing up so I got her on her knees. I also pulled out the laying pigs arm a little to balance the image and tweaked the pose of the wolf a little to make her appear more arrogant.
So that's where I'm up to so far. All this is still up in the air though, and I'll keep pulling the poses and composition around right through the whole process. One thing that really is invaluable and I do it A LOT is flipping the image horizontally. Seeing the picture the other way round will often make me notice mistakes that I hadn't otherwise seen.
Ok, that's it for now! I'll post more as I do it. Hope that was interesting enough and I didn't ramble too much!