A sketch from a discreet location – the Palace Theater at The Speakeasy in San Francisco. Alan and I have been supporters from their earlier days as Boxcar Theater through this latest, grandest iteration of The Speakeasy. We were there this Sunday to join as extras on a little promotional material. As part of that, I had more opportunity than usual to check out the Palace Theater portion. Enjoy! Or better yet, see it yourself.
I don’t usually paint on 3D objects…but when I do it’s usually for a gift. This is a Zelda-themed repaint for my friend Jeremy who has a whole black/white/red setup for his motorcycle & gear. The helmet was pure white with black accents, so I took a few photos and went through a couple of rounds of mockups to figure out the look.
Visualizing on a curved surface is tricky! I considered taking some reference photos and mapping them onto a 3D object so I could spin it around, but (as I often do) opted for the quicker visualization figuring that I’d work out the fine details as I went. These Photoshop mockups just overlay vector masks onto the photo, and I eyeballed the curvature to fit the viewing angle.
Photoshop Test #1 was about establishing the overall placement for the classic Hyrulian crest with a little decoration on the sides. Jeremy wanted to incorporate “It’s dangerous to go alone” on it so he found the phrase in a glyph system designed for the latest game, Breath of the Wild. He also wanted more black along the sides and front, so for Photoshop Test #2 I figured out how to extend it without interfering with the letters (or vents).
Once I was ready to start painting, I knew I wouldn’t be able to mask the fine detail for the glyphs. Instead, I measured the front and printed them out to fit that length. Since it’s a curved surface, I also needed to work out how they would wrap evenly. To get this look, I cut vertical lines between each glyph so I could carefully bend the paper. I taped it over the area to paint them to use as a visual guide, and that worked out pretty well.
The rest I’d masked carefully though I ended up doing a lot of cleanup on the edges. Since I painted it (rather than spraying it) the paint didn’t leave a clean edge on the first pass. I wasn’t ready to invest in the kind of system (and masking, and ventilation) I’d need to do a proper spray, so it’s a good thing this worked! I used Testor’s Paint which seemed to grip pretty well. A final gloss coat by a professional painter helped seal it in. Ready to go!
Happy May Day! In celebration of the warmer weather and the end of the drought, I created this series of things that grow in the ground. I always like cutaway-style illustrations so I created a view of what’s above and below the ground.
I’d found these chicken wire frames last year. I really liked the style except for one part: they had black velvet swing arms so they could be free-standing. The arms really distracted from the chicken wire, so I removed them and employed them in a little creative use last year.
As for the rest of it..? No deep meaning here, just an excuse to study the details and spend some time with watercolors.
I created this piece for the recent Alternative Facts show at Works/San José. This is a reaction to the Trump and GOP campaigns hinting at violence against those who disagree with them, and feigning ignorance about what they promoted. I used the visual language of the intertitles from a silent movie, The Birth of a Nation, for two reasons: because of its melodramatic emoting, and because of its role as white supremacist propaganda.
The Birth of a Nation (1915) by D.W. Griffith is remembered for both its dramatic and film innovations as well as its demonization of black people and promotion of white supremacy. This film stereotyped black people as unintelligent and sexually aggressive. It showed the KKK as a heroic force fighting against their participation in society from voting to mixed-race relationships. While there were protests and calls for censorship, this distorted story was also adopted by the KKK as a recruiting tool.
The tactics of urgently stoking fear of “others” incites violence and continue to be used by Donald Trump and the Republican party that supports him. These vague threats justify policies that are actively targeting African-Americans, muslims, immigrants, women, and LGBTQ people.
“I don’t know if I’ll do the fighting myself, or if other people will.”
Trump at a press conference reacting to Black Lives Matter protestors taking over at a Bernie Sanders rally – August 9, 2015
“Maybe he should have been roughed up because it was absolutely disgusting what he was doing.”
Trump at a rally in Birmingham, AL – Nov 22, 2015
“I love the old days, you know what they used to do to guys like that when they were in a place like this? They’d be carried out in a stretcher, folks.”
Trump at a rally in Las Vegas, NV – Feb. 22, 2016
“They used to treat them very, very rough, and when they protested once they would not do it again so easily.” At press conference: “The audience hit back and that’s what we need a little more of.”
Trump at a rally in Lafayette, NC – March 11, 2016
“I’m just expressing my opinion. What have I said that is wrong?”
Trump in an interview with Chuck Todd, Meet the Press (NBC) – March 13, 2016
One year later, in response to provably false allegations used to support policy changes:
“So what have I said that was wrong?”
Interview with Michael Scherer, Time Magazine – March 22, 2017
This is the last batch of sketches from a sketchbook I carried with me (theme: Undefined Variables).
I’ve got two more tiny leather-bound sketchbooks like these but I may take a break from this style of book for a bit. I’ll pick it up again when I think of another programming concept that I can translate into a sketch style.
I also need to get the proper pen(s) again. I’ve been using the “soft” variant pen for these last ones for a change, and it’s much more like a brush pen. This paper is heavily textured which makes the soft nib catch more easily.
During the Cinequest Film & VR Festival, I’m one of three “live painting” artists for Phantom Galleries along with Brandon Anderton and Fernando Amaro Jr. (Force129). We each started a painting that we’ll complete over the course of the Cinequest Festival, to be completed on the final day at the closing party.
When I thought of the theme, “Elevate”, I thought about how people express themselves with gestures. I picked a movie for each of the 13 days of Cinequest to be represented here by gestures from one of their characters. I’ll update this daily with the current progress as well as information about which movies are represented. By March 12th, this will contain them all. Enjoy!
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I made a few more three-panel illustrations with the phrase “Peace, Love, and Understanding” spelled out across tattoos. Not too much story on these; I mostly picked it as an excuse to draw different people and to think through the meaning of tattoos. “Peace” and “Love” are pretty easy to incorporate into tattoos…but “Understanding”? Much more difficult. The best I could do on that one was either including it in a longer phrase, or taking the education angle. It was getting quite challenging to not repeat tattoo locations too.
I just finished hanging a dozen pieces of art at Bel Bacio coffee shop in San Jose’s Little Italy. There’s an entrance wall and a front room with three walls (and a window), so I chose a mix of paintings, illustration, and prints for each of the four walls. I matched nearby colors wherever possible and grouped them together in four themes:
This is the last of 6 calendars I’ve re-painted with Chinese folktales in time for the Lunar New Year 2017. While it’s the Year of the Rooster, I’ve heard that the Chinese calendar alternates masculine and feminine years so it is more accurately the Year of the Hen. A fire hen, at that!
This calendar’s story is about how the rooster got his crown. In the early days of the earth, there were nine suns which scorched the plants and cause people to live in caves. A famous archer, Yi, shoots down eight of the suns using a pond’s reflection. The ninth sun goes into hiding, casting the land into darkness. The rooster is the only one who can coax it to come back out, and for that, he is granted his crown (comb).
Like the sheep calendar, this one has oversize flowers too. There’s also a little lazy duplication in the green plants by the chicks where the same art is copied and resized slightly. I also ended up painting out extraneous plants along the top and side edges to balance out the composition better.
This calendar re-paint is about a story of a farmer who loses a sheep because a wolf snuck through a broken part of a fence. His neighbors tell him he should fix the fence, but he is too focused on the loss of the sheep. The next night, the wolf returns and he loses more sheep. It is a cautionary tale about not dwelling on the past.
This calendar features an odd visual quirk I noticed on some of them – the sense of proportion gets really odd with the foliage. The flowers in the midground are massive. I imagine the calendar designs are just combining pieces of illustrations. On the Rooster calendar, it’s pretty clear these are different illustrations combined together.
I opted to paint similar flowers at a more accurate scale by the resting sheep. That area originally had italicized text in a similar color scheme that read “Good Luck!”
In each of the calendars I’ve chosen one element to outline, and here I opted to keep the fence relatively flat and cartoon-like. I added more subtle detail in the grass by using brown to indicate the (now treadworn) path through the broken fence.