Sketches and sketches

Just a couple fun sketches while warming up at work last year:



And a couple last-minute cuts from the REJECTS book:

Illustration samples

This was fun, because it felt similar to character design. I recently 'auditioned' for a freelance illustration gig for a publishing company and shot over these samples. The purpose was to illustrate an attractive man and woman, with the contrast of "heavy vs thin". I tried to go a few angles, but they were looking for a certain quality. I can't say I was entirely satisfied with all of these, but in general they turned out okay.

More cuts

These are some more of the drawings slated for REJECTS, but for one reason or another, didn't make the cut.

More LIVE work

These sketches were drawn live during the summer of 2006, nearly a year ago. I was traveling across the country and drawing at various theme parks, and these are some of the ones that I thought were okay at the time, but now feel that they need improvement. This probably represents the average sketch I was doing at the time.

Acrylic Caricature

Each year the National Caricaturist Network has an international convention at a different location, where hundreds of artists gather, learn, workshop, attend seminars, compete and create amazing pieces of art for a week, straight (very little sleep). Almost three years ago, I was asked to contribute a commissioned piece to the auction- by which I'd complete a caricature in acrylic paint (similar to a sample I'd provided) of the winning bidder at the annual art auction. We have had a couple other artists do this, like Tom Richmond and David O'Keefe. The winning bid on my piece was placed by Patrick Harrington. He's a great artists who draws very gutsy and unique caricatures, and I was excited to do it.

Here's a look at the process. My friend Brian was nice enough to snap a picture after each important session I had with the piece, sometimes as much as 8 hrs. of work between each photo.

This is the reference that I chose. Pat sent me dozens of pics, preferring the "singing" pose, as he's in a Led Zeppelin cover band (and a damn good one, from what I hear). I liked that this was more of a crooning pose than a yelling pose, something that I'd seen Plant do from time to time, and less cliche' than a scream. I also liked the angle and the unique and descript anatomy around his mouth, chin and forehead. I'd noticed Pat's mouth and hair more often than anything, so this pic seemed right.


From there, I did a pencil sketch. I tried a couple quick thumbnails, but this was the first larger sketch I completed. It is roughly 6" tall. I planned on projecting this onto the illustration board, however I didn't have access to an opaque projector at the time, so I used a grid system (you may see the notches marked on the right of the sketch) which proved again to be time consuming (use a projector!). I like the life and vigor of the rough sketches and pencil work, so I have been recently using them more directly in my paintings.


After transferring the drawing onto the board (don't quite remember the size, but I think it's around 19" tall), A monochromatic brown painting is done to recreate the tones. Contrast and value is important, so I try to establish that early on so I have a good anchor for the rest of the color and detail. I have a bad habit of mixing white back into the brown and painting the hilights a bit thicker. This is okay, but something I got a little too detailed with in the nose/mouth/eye, as you can see. At this point, I'm ready to start applying some color.


I started very pinkish/purple, and built the color slowly. Patrick has a very pink, flushed complexion and I wanted that to come out... especially in the cheeks and chin, which stands out to me. This pic is about 1/2 way through the entire process.


This is the finished painting (click for a large view). I'm not sure it feels the same as the sketch did, to me, but I was generally pleased with the result. He requested a microphone and a hazy, smoky atmosphere, so they were roughly included. I also got to the end of his pendant and decided to leave it out.. I'm not sure why, but it made me chuckle, and was the first thing Pat noticed! I defninitely enjoyed the process, and am not sure if I like painting in oils or acrylic... I enjoy them both for completely different reasons. They cannot be treated similarly, and have benefits to themeselves that are very unique. Either way, I'm glad I had the opportunity to do this.

more "rejects" from REJECTS

In my book, available this July, you will see many extreme caricatures of real people from the theme parks, but some images didn't make it to the book. Some due to editing and space and others due to quality. Either way, here are some of Rejects' REJECTS.

REJECT

This is of caricaturist and character artist Dave Wolter. He's very very talented and was working with me at Knott's Berry Farm this day. I tried about 8 times to capture him and this is what I got. I was pretty happy with it, but just lacked space in the book.

This boy got a free demo drawing- Black and White, completed in about 2 minutes. He walked away and I continued to color it from memory (which often produces the most interesting result, as you're now committed to the drawing, not the subject). When his family came back, they laughed histerically saying, "He does look like a little old man- we tell him that ALL THE TIME!" ...yet they wouldn't spring even $8 for the sketch. No worries, though... they genuinely liked the drawing and had a good laugh. Unfortunately, it's not quite good enough for the book, but I can at least show it here.

I've just confirmed that I'll be drawing in the Southern California Kaman's Art Shoppes theme parks from June 2-June 17. I'm really looking forward to it and plan on really stretching the quality of the drawings, the appeal of the product to customers (sales) and overall exaggeration. It will be a good time, drawing next to some great caricature artists. If you're in CA, drop me a line and stop by and get a cheap, funny sketch!

REJECTS - coming in July

Be sure to give me your email address so I can
personally remind you of updates and availability.

Markers

Many artists, mostly live retail caricaturists, have been asking about markers. I've worked for Kaman's Art Shoppes for over 5 years (on and off in the last year) and I've used many different supplies, specifically markers.

I started with the popular 229-LF DESIGN marker. They had a great firm-yet-flexible bullet tip that felt like a soft pencil, at times. While they were great, they were a bit short and hard to hold in a pencil-grip, they smelled horrible (xylene solvent for quick drying- ick!), and are now unavailable. On top of all this, about half of the old Design Markers would get pushed into the neck, like a turtle's head, from pressure. Other times, the tip would break off or wear down to a fuzzy nib.

I've also tried the Chartpak AD markers. They also dried quickly and had a long-life, but the tip rotated in the marker when I applied pressure, and I don't always have a very soft hand while drawing- I like to vary the line weight quite a bit, and this became difficult. It is also difficult to get a fine or thin line out of them.

Copic makes a great brush-tip/chisel-tip marker that is refillable. I can't say enough good things about Copic- they are amazing markers, have replaceable tips that are suited for all types of drawing, they are refillable, and the ink is dense and wonderful. The only problem is that they tend to slow down the live caricaturist, as they require a bit more finess and maintenance. Put simply, one must slow down to get the quality out of these markers. When slammed with a crowd in a retail environment, it's tough to speed through and make a good paycheck. That being said, I used Copics exclusively for over a year and didn't regret it a bit. I'm actually thinking of getting a full set of colors, as they're great for illustration.

There are many other sorts of markers- Sharpies, Faber-Castell PITT pens, Tombo brush-pens, Zebra brush-pens, Staedtler-Mars Graphic 3000 brush-pens and others. I can't stand Sharpies, but often use these other tools for different projects and in my sketchbook. Either way, the marker that I prefer now, for live work is the Dixon Markette.


Manufactured in Canada, it seems to be almost identical a marker to the old 229-LF DESIGN marker, save a few points:

1. It doesn't STINK as much
2. It's longer- fits in your hand better
3. It lasts longer
4. The tip lasts longer than the ink
5. It's actually being MANUFACTURED



The Dixon Markette is quick to use, it's forgiving, you can get a sharp, pen-like line and a dark, WIDE brush-like stroke. The tip doesn't deteriorate, and you can draw much faster and cleaner than with a brush-style pen. (I know many artists that can handle brush-pens well, but you're limited to a certain flair or style, whereas I personally see more versatility in the bullet-tip)

I'm not certain where the most accessible or cheap way to acquire the Markette is found, I do know that Kaman's Art Shoppes (the leading caricature and theme park art concession company in the world) uses them almost exclusively. At the behest of the NCN, the wonderful people at ART SYSTEMS did some hefty work and got access to them. You can order them by calling the store at ArtSystemsFL.com and asking for Deidre Harris (or anyone else willing to help). You will have to pay shipping, but they offer a great price. Last I checked, they're nearly $3/marker.

George Costanza

This is the finished caricature for Frank Caliendo.

Digital Painting

I'm working on several digital caricatures for comedian Frank Caliendo. Frank does amazing and hilarious impressions of celebrities and political figures, based on his own comedy and writing. You've seen him on Comedy Central, Letterman and MADtv, but sure enough Frank has gone further! He's got his own TV show "the FRANK show" on TBS this fall, as well as several other projects and tours along the way. Be sure to catch his act- it's great.

In doing caricatures for his website, I've learned a lot about digital painting and how simple or complex it can be. There's a lot to decide when you're painting. Either way, I've found that my favorite part of doing these ones, in particular, is the roughing stage. I do a pencil sketch first. Once that is approved, I throw some color underneath the pencil (in Photoshop) then rough lots of colors on top of it, painting in an impressionistic way. I look for light splashing across the face, and consider only hue and contrast at this point, with heavy use of the reference. Smoothing and sharpening edges comes later, as well as fixing up details and other 'finishing' work. Here are a couple details of the two I'm currently working on: