Here is my Green Lantern power battery illustration as an animated GIF to display the importance of texture and lighting.
To do the style seen in my recent work I always build my base shapes in Illustrator first before moving into Photoshop. Illustrator allows me to get really precise with the shapes and colour, making sure those bezier points are working for me. But the texture and lighting work in Photoshop is what really brings these otherwise flat illustrations to life.
The first frame of the GIF is my flat vectors (and a bit of brush masking), and the second is with all the effects turned on.
I can’t talk about any project details (game industry NDA stuff), but I’ll just leave this right here.
EDIT: Yep, this was an April Fools gag that I put together this weekend. Most of you got wise to it pretty early. To those who thought it might be the real deal, whoops! My apologies to Bill Watterson who probably never saw this thing anyway. But hey, gotta be polite.
To the marketing people at Sony… don’t get any ideas.
Deadlines have been packed throughout the last 2 weeks so my illustration output has slowed a bit. But, here is a batch of the latest. As usual, it’s a mixed bag. The Hubble Space Telescope, ‘The Bride’ from KILL BILL and my main man RoboCop.
That grumpy looking lumberjack was created for my pal Jerko. We were having a few cold ones the other night and he told me about this story he was working on, hinging on something from an old horror magazine. Jerko loves his horror. I cracked out the sketchbook and we worked up a doodle. That’s my take on the main character, WeirdBeard.
Things have been moving on the illustration front, and my output ended up landing me a really cool client gig. Banged out 3 illustrations for none other than the Canon camera company last week. Once I get the green light I’ll post them up. Super fun.
Big thanks to my pal Andy Cotnam for the helpful advice on the RoboCop!
If you’ve been following my work over the past year, you may have come across several posters that I designed for my favorite movies. I created pieces for DRIVE, BLADE RUNNER, THE THING, MASTERS OF THE UNIVERSE, INDIANA JONES, TERMINATOR 2 and some others, all of which can be found in my portfolio. I made it my mission to break into the alternative art movie poster industry, but unfortunately only 2 posters were officially printed and offered for sale. The others remained in legal limbo, personal development, self-initiated projects… whatever you want to call it.
Aside from what was released online I did a lot of work behind the scenes developing ideas and visuals for many of my favorite movies. I never had permission, I designed them merely for my own enjoyment and practise. Most are thumbnails in my sketchbook while others I pushed to a digital sketch. Seen above are 5 posters that never got out of the concept phase. Very few people have seen these up until now. The Signalnoise movie posters that weren’t.
Before I build my posters in final vector format, I mock things up in Photoshop to experiment with the composition, colours and texture. Normally I cobble together found photos and movie stills as reference, then “paint” the entire poster from scratch. Ideas tend to shift and change as I go, which is why you’ll see differences between the ink sketches and the digital mock-ups above.
These concepts have been sitting on my computer for months, figured I’d post them. And the thing is, this isn’t all of them so you might see a ‘Part II’ to this post in the future.
I’ve been creating illustrations in this style for about a month now, a kind of ongoing experiment of forcing myself into a new process. I was hanging out with some friends last week and one of the bits of feedback I got on the new work was “create some original material”. As in, not something attached to a franchise. Good point there, so I got at it.
Here’s an illustration titled ‘The Arrival’, depicting an adventuring kid out in the woods who witnesses a big meteor falling to earth. Simple little idea. Maybe the start of a story? Who knows.
I’ve been getting a lot of people asking what software I’m using to make these things, so seen above are 3 versions of the illustration. The original concept from my sketchbook, the straight vectors in Illustrator, then my final in Photoshop. Should give you a rough idea of how I build up the illustrations.
My illustration and the original pencils by Jack Kirby.
My illustration and the original game graphics.
More and more and more illustrations. Seen here are 3 more completed over the last few days: the TARDIS from Doctor Who, Superman’s nemesis Darkseid and video game star Mega Man. A motley crew of subject matter. I went to visit my pal Ben Jeddrie the other day and he gave me a list of stuff I should illustrate, which is where the TARDIS and Darkseid came from. Good ideas.
I posted a couple of split images to show what my illustrations were based on. I wanted the Darkseid illustration to directly reference a drawing by creator Jack Kirby because I didn’t want some bullcrap “modernized” version of the character. Same with Mega Man. My pal Lucas requested that one and the last thing we wanted was some manga lookin’ thing, so we went straight to the original 8-bit.
As always, best way to see these things as I make them are via Instagram and Facebook. Big thanks for the response and feedback everyone, the help and encouragement means the world to me. More to come…
Yet another illustration completed today, my favorite vehicle from the STAR WARS franchise: the TIE Fighter. After putting some hours in on the Clint illustration, I wanted to relax and make something with some logical surfaces and design.
A lot of people are asking me what the destination and goal is of these illustrations, and in all honesty I don’t know. This new exploration was born out of the urge to create different material, at least different for me, and it was only meant to be an exercise. I had no idea the online response would have been so loud, completely unexpected given this stuff is very different than other stuff I’ve done.
So now I’m in a place where I’m starting to ponder a method of getting these out there to interested parties. Prints? A book? I’ve had some interesting ideas sent my way from reputable sources, but still undecided. Guess we’ll see what happens as I continue.
As always, if you want to see these as I make them, Instagram and Facebook is the place to be.
Here are my clean vectors beside the Photoshop texture work.
I’ve been consciously putting off doing a “person” piece in this new style, focusing more on boxy shapes, robots and characters. But after doing the DRIVE illustration that featured a human hand, I decided it was time to tackle a face. Even bigger than that, capturing likeness. Yikes. In a low-poly, painterly style? Yeah right. So last night I found some photos refs and dove in.
Seen here is my illustration of good ‘ol Clint in his classic role of the ‘Man with No Name’. Lots of trial and error in this one as I built all the shapes and shading, even brought a bit of Picasso’s Cubism into the fold (unintentionally). Still in the experimental phase of this illustration stuff, but it’s getting somewhere interesting.
This one is for my Dad who loves a good western.