Tuesday, 22 May 2012
I did another illustration at the weekend for Amelia's Magazine, and now that the article has been published, I can share it with you. It's for an interview with Mina Tindle, whose music you should definitely check out because it's lovely!
Firstly, I'm stoked that I managed to complete two illustrations in one weekend, the first (Bill Murray) taking absolutely hours! Secondly, I'm really, really pleased with this Mina Tindle one. After thinking about what I least liked about my most recent work, I realised that I'm really only happy when my digitally finished work holds on to that hand-drawn aesthetic. For this illustration, instead of doing my usual thing of trying to 'clean up' my line work, I did nothing to my scanned drawing other than increasing the contrast slightly. You can see that all my sketchy pencil bits are still very much there; this makes me happy.
Doing two separate pieces of work in such a short space of time, I noticed more than usual a sort of established process that I work to. I enjoyed it incredibly, because as sporadic and experimental as my processes can be, deep down I love feeling organised.
Saturday, 19 May 2012
Drink and Draw #4 was on the 10th of May. The bottom drawing, I discarded within the first 15 minutes of me starting to draw. The D&D folk scanned and uploaded it to the Facebook group anyway, so I thought I'd include it here.
The theme was "What's Lurking Under Your Bed?"
Another Belly Kids illustration for you now, for a collaborative Bill Murray colouring book (awesome, huh?). The brief was pretty loose: pick a Bill Murray movie and do an illustration based on it. Deliverables were one coloured illustration, and one of just the linework in black and white.
I really got into this drawing, probably because I loved the brief so much. I spent literally all day yesterday working on it, and I don't think I've ever spent so long on photoshop in one stint in my life! I'm happy with the results, but I could play around and tweak it forever. I still feel like I'm discovering this side to my illustration practice; the side where the envisioned outcome isn't a screen print. Ideally I would like to master a way of colouring that retains the sketchy quality of my original drawings, but for the purposes of this brief, I think the clean lines (especially in the black and white version) are perfect for a colouring book.
I'm terrible for trying new styles and techniques rather than following a consistent method. Maybe one day you'll look at my portfolio and everything will look the same.
But probably not.