Can’t show the full illustration since it won’t print for another two months, but here’s a detail of a job I turned around on a tight deadline last week for Christine Morrison over at Stocks and Commodities Magazine. Always a pleasure to work with Christine. Since the deadline for this one was unusually short, there wasn’t going to be enough time for me to paint it traditionally and get it photographed, so I opted to paint this one digitally using Corel Painter. I still have a ways to go with learning how to digitally paint, but this one felt like a step in a positive direction.

Just a quick post to give a big thumbs-up review to the new J.C. Leyendecker book. Good biographical information, well-edited, and most importantly, filled with top-notch reproductions of Leyendecker’s work. I’ve been waiting for a book like this for a long time, and it’s gratifying to see that they got it right. Go buy it right now at your local bookstore, or order through your online retailer of choice. Worth every penny.

Now if only we could get similar full-color monographs on Dean Cornwell (yes, I have the Broder-authored book, but there’s too few images in color in that one), Harvey Dunn, and Mead Schaeffer, I’d be content. And while I’m dreaming, books on Al Parker, Coby Whitmore, John Gannam, and Austin Briggs would be nice too. Note to any aspiring illustrators reading this blog: if any of the names I just mentioned are foreign to you, well, you’ve got some homework to do. These are some of the greats and you’ll love their work if you seek it out.

Ok, so things have finally calmed down enough for me to finally post again. Time to make good on my promise and do a nice thorough process post.

The assignment was a poster image for Westmont College, for their upcoming Christmas Festival concert. I was given the sub-theme of “Lo How a Rose” and told to go for it. In many ways, this was a dream assignment—long deadline (which actually got me into trouble because like most illustrators, I’m a dedicated procrastinator), excellent reproduction, creative freedom, and surprisingly, a decent budget.

So, first thing is to do lots and lots of loose thumbnail sketches in any number of sketchbooks that I have lying around. This is the basic concept that I settled on, just a simply depiction of an angel contemplating a rose.

My initial rough sketch, drawn with ballpoint in a sketchbook

Next, it’s time for reference photography. While I follow my sketch, I also try to “sketch with the camera” and try out all kinds of poses. Often times the model will do something I didn’t think of that I end up liking and incorporating into the final piece. Thanks to my sister Kristin for posing.

Once the photography is done, it’s time to create a tight sketch. I really obsessed over this stage, doing five drafts before I was finally happy enough with the drawing to proceed.

The final tight sketch, rendered in graphite on tracing paper

Because I had the luxury of a long deadline, I decided to do a nice finished color comp for this piece. Usually these will be in gouache in my sketchbook, but on this one I decided to gesso a piece of illustration board and do a couple of 8×10 studies in oil. I had a lot of fun painting up the color comps, and below is the one I used as the basis for the final painting. Keep in mind that these process shots are all showing the glare from my drawing table work lights, so they’re not the best shots in the world.

The color comp—oil on gessoed illustration board

I print out a sketch sized to the board I want to work on, which in this case was an 18×24 gessoed masonite panel. I own an Epson 4000 that I got for this express purpose, as it can print out on roll paper. I coat the back of the printout with charcoal powder, and trace it down on the board to transfer it. I hate this stage, but it seems to be a necessary evil. Once the drawing is down, I go over the lines lightly using a Verithin pencil, which makes the linework permanent enough to withstand the next step, which is to put an acrylic wash midtone over the entire piece (hat tip to Kenton Nelson for teaching me the Verithin trick).

Now it’s time to just get in there and paint. I like to start with my dark shadows first, and gradually build up thicker layers of midtones all the way to highlights. Something I picked up from a painting workshop with Steve Huston was to make the color a bit intense in the early layers and then gray it down as you layer on top. Click on any of the detail shots to see a larger close-up.

The above state is as far as I got before having to take a break for a day to catch up on other work, and at that point I simply forgot to document any further stages. But you get the idea. For those who want the truly obsessive details, I like to use M. Graham brand oils, with Walnut Alkyd Medium to keep the paint flowing, speed the drying time, and add a little gloss.

Once the painting was completed, I took it down to Artscans, whom I HIGHLY recommend. They know their stuff. They use a proprietary scanner and software to capture images, and the result was one of the most finely detailed scans of art that I’ve ever laid eyes on. But don’t take my word for it—see for yourself below. Click on the detail shots to see how they really caught every nuance of my brushstrokes. Thanks to Caroline and the whole crew at Artscans!

The final painting

Hope you enjoyed the long post, and I promise I’m going to try and be more frequent about updating this blog. Please feel free to leave any questions in the comments section and I’ll be sure to answer.

Man, I am pathetic at keeping this blog updated with regularity. I promise to do better from here on out.

Working on a fun illustration project right now, and I’m carefully documenting all kinds of stages of it for a nice long process post. But as it’s still in process, I’ll just post a teaser for right now, this is a detail of the final sketch. The deadline is upon me, so I’ll be back in a week with a full post on what the project is and how it all came together.

Can’t believe I let two weeks slip by without posting. I blame the Olympics. Thanks for destroying my work output for a solid week, Michael Phelps.

Since friend and illustrator Scott Bakal called me out in the comments section of my last post over the fact that I’m not exactly doing sketches per se in my Dialogue sketchbook, I figured I’d show some quick sketch drawings from my Monday figure drawing class. All poses are 2-3 minutes, charcoal on smooth newsprint.

After months of procrastinating and being occupied with other things, I finally finished my latest entry in the Dialogue sketchbook that I’m passing back and forth with Peter Cusack. Sorry this took me so long, man. I’ll be quicker about it with future entries, I promise!

For those just tuning in, Dialogue is a pretentiously-titled moleskine sketchbook that Peter and I are passing back and forth, each of us doing a two-page spread painting that is informed by the one preceding it. I started with a self-portrait, and Pete responded with a painting of himself taking a walk. I decided to riff off of his theme by showing someone else out for a walk. Your move, Cusey.

This is going to be a massive post, as I’ve just come back from a full and amazing week at the Illustration Academy, hosted by the Ringling School of Art & Design. Robin and I got to work with an amazing group of students, and had the added help of the one and only Anita Kunz.

Here’s Robin and I at the critique. The Academy is set up so that students receive an assignment on Monday; work like mad throughout a week that is interspersed with instructor demos, slideshow lectures, and figure drawing classes; and then the next week’s instructors critique the final work the following Monday, so that there’s a fresh pair of eyes looking at their finished illustrations. Robin and I critiqued the assignment given to them the previous week by C.F. Payne, which was to depict two people having some kind of a conversation.

Robin and me being introduced to the students at the critique.

Critiquing the work.

L–R: Robin, and full-time Academy instructors John English and Doug Chayka.

Sterling Hundley, also a full-time Academy instructor, observes the crit in progress.

Australian illustrator or Hollywood marquee idol? You make the call.

We ended the crit by debuting a new finished illustration by artist Chris Payne, who had left it with John English before leaving the week prior: a portrait of myself. Chris and I had agreed last fall that we would swap portraits of each other, and John took great delight in showing off the piece.

John English unveiling the portrait of me by C.F. Payne.

Everyone kindly assured me that my ears are not, in fact, that big in real life.

After the crit and a quick lunch, it was time for me to show my slides. Rather than do a “best of” of my portfolio, I decided it would be of more value to use my slideshow to pass along some words of wisdom, along with select samples of my work.

Dispensing some advice from the trenches.

After the slideshow, Robin and I gave the students their assignments. That’s right, assignments as in two separate projects. Given that it was the second-to-last week of the program, we had been urged by Academy founder John English to turn up the heat and give them two assignments, with the caveat that only one had to be brought to a complete finish, but the other one had to be brought to at least a tight sketch if a finish was impossible. The first project given was a conceptual portrait assignment, as if for Rolling Stone, but added in the twist of assigning each student a letter from the alphabet in order to quickly limit their choices as to who they could portray, because we didn’t want them wasting the entire week being overwhelmed by all the possible choices. Giving them one letter to choose from made them focus in quickly on a handful of options, and it also helped to prevent the “superfan” syndrome where someone wants to illustrate a musician of whom they’re such a huge fan, that their familiarity with the minutiae of that celebrity’s life ends up getting in the way of them making an clear, readable concept.

Describing the two assignments to the students.

The other assignment was to do a narrative children’s book illustration from one of three stories: The Tortoise and the Hare, Jack and the Beanstalk, and The Gift of the Magi. This range of stories allowed for the students to pick the overall direction they’d want to pursue for children’s book work: the whimsical, the magical, or the realistic. Not surprisingly, the vast majority of them went with Jack and the Beanstalk, as we had predicted they would.

Turns out that giving a three-hour crit, followed by a slideshow and Q&A session is thirsty work. So it was back to our hotel, the lovely Lido Beach Resort, for daiquiris and quesadillas. The weather was beautiful and we enjoyed being regaled by stories by resident Academy comedian Brent Watkinson as we watched the sun set amidst cumulous clouds straight out of an N.C. Wyeth painting.

Refueling after a long day of talking.

L–R: Jodi Watkinson, Brent Watkinson, Doug Chayka.

Talking shop with the Hundleys.

Brent, Doug, Rachel (Robin's lovely and charming fiancee), and Robin.

Brent Watkinson, undoubtedly in the process of telling one of his infamous dirty jokes.

The following days were very full ones. We critiqued the students’ thumbnail sketches the following morning, and the students set to work on gathering photo reference and further refining the designs of their sketches. Figure drawing that night was run by guest instructor Natalie Ascencios, who dropped in for a whirlwind 36 hours.

Natalie Ascensios working with the students.

On Wednesday, it was Robin’s turn to take the slideshow spotlight. Robin wowed the students with an incredibly well-thought thought-out slideshow that managed to weave together great words of advice, samples of his amazing illustrations, and some truly hilarious potshots at the full-time instructors.

Robin pacing nervously before his talk. Robin takes his lectures very seriously and delivered a homerun.

The full-timers had a dinner obligation that night, so Robin, Rachel, Anita and myself went out to The Old Salty Dog that night for dinner. The conversation was lively and the food was mostly deep-fried.

Dinner with the crew.

On Thursday, it was time for me to do my painting demo for the students. Demos are nerve-wracking, because you don’t want to tank in front of a group of talented students. Thankfully, it seemed to go over well. One of the highlights was having all of my co-instructors present while I worked, and we ended up having a spontaneous roundtable discussion on our individual hopes and dreams as illustrators. Having a good discussion going like that during a painting demo makes the time fly by much more quickly for all involved.

My demo piece before I began painting, a portrait of Henri Matisse. I transferred the drawing and toned the panel with acrylic before arriving at the Academy.

The tiered seating setup for students to view demos.

I start by painting the shadow areas thinly.

Blocking in simple shapes and keeping it nice and graphic before doing any rendering. As I told the students, I'm just a dumb guy trying to paint smart.

Once the block-in is complete, that's when the fun of building up the lighter values begins. The bright red background was placed with the intention of covering it up with a complementary color at the very end.

Having your demo observed by pros like Anita Kunz and Doug Chayka will help keep you on your A-game.

George Pratt. George is the unofficial photographer for the Academy, and most of the photos in this post were taken by him.

Starting to render details at this stage. A demo never has the finish that one would achieve in the studio working without 50 people watching you, but hopefully captures a sense of vitality due to the speed at which you have to work.

You can see my photo reference here—one that is printed light so I can see details in shadows when needed, and one that is printed darker, so that I keep my eye on the overall light/dark pattern.

Very close to being done at this point. I picked at it for a while longer that night while the students were figure drawing.

The next day, Robin did his demo, a portrait of Sean Penn. He nailed it. I’ll let the pictures tell the story.

Showing the underpainting and dark values washed in.

Robin uses a very limited palette, to ensure color continuity in his pieces.

Anita conferring with Robin.

Putting on the finishing touches.

Robin amazed all of the oil painters in the group (myself included) with his incredible facility for blending acrylics as if they were oils.

The last night of the Academy was capped off with a group dinner and followed by a few rounds of pool at a Sarasota nightclub, where we were joined by many of the students.

The Academy crew, outside Marina Jack's.

Robin and me at the end of a great week.

All in all, it was an incredible week. Thanks to John, Brent, George, Sterling, and Doug for treating us like kings while we were there, and thanks to the students for pushing themselves and for having such good attitudes. You guys were a joy to work with, and if any of you happen to read this post, please send me jpegs of your finished pieces!

drawn-profile

Big ups to Johnny over at Drawn! (one of my favorite websites for finding out about cool new artists), for featuring me a few days ago. I found out about it right as I was leaving on vacation, so I’ve only just now been able to get on the internet and check my blog and website stats. There was a HUGE increase in hits, so I appreciate the Drawn! love and hope some of you new visitors will continue to come by every now and then.

Had an awesome time at the Illustration Academy, and I’ve got a full post written up that is just waiting on some photos to come in from a few people before it’s ready to post. But in the meantime, here’s a shot of me working on my demo in front of the Academy students. Full recap to come soon!

demo

Tomorrow morning, I leave for the Illustration Academy, held at the Ringling School of Art & Design. I’ll be one of two guest alumni instructors for the week, teaching alongside my good friend and former student Robin Eley. We’ll be giving an assignment for the students to complete in a week, doing demos of our respective techniques, and giving slideshow talks on our work and how to get started as an illustrator. The Academy is where I received my most valued training, so it’s a privilege to get to go back and share what I’ve learned. And a week spent with the amazing full time faculty of the Academy—John English, Brent Watkinson, George Pratt, Sterling Hundley, and Doug Chayka—promises to be a week filled with a lot of laughs. These are a great group of guys who are not only talented artists, but also love practical jokes, so I’m prepared for a little hazing.

Assuming my demo goes well, I’ll post photos of it upon my return.