This was a fun one. Signalnoise and Mystery Box teamed-up with Opening Doors over in the UK to develop the first limited edition poster for their Creative Control initiative. We even designed the logo for them, seen above. A great bunch to work with, they let me do whatever I wanted so we settled on a nice cosmic setting and got to it.
I got the opportunity with this poster to explore a style I hadn’t done in quite some time, utilizing some fun and bold line work. I then mixed in a bit of the current illustration style I’m doing with some brushwork and geometric form on the ship. Fun stuff, man. I added some of my process shots above as it took me a little bit to settle on the layout. At one point the ship was a chunk of amethyst whipping through space.
A big thanks to my friends at Opening Doors for rolling the dice on me!
If you have been following my Instagram or Twitter for any length of time, you might have seen a slew of illustrations I pumped out back in February. The short story is that I created these out of frustration after a failed attempt to break into the movie poster world. When I’m backed into a corner, I lash out with new work.
Well, in the midst of creating those illustrations I got a call from Canon Canada who saw them and wanted to hire me to develop some camera illustrations in celebration of their 40th anniversary. Just another example of personal work leading to some rad client work. We had a really short timeline, but nose to the grind I banged out these fun designs which eventually ended up on some promo t-shirts for the event.
A big thanks to Canon Canada for rolling the dice on me!
I was blown away when a couple of the internet’s top brass reached out to do an interview session. Super proud to announce that I’m this week’s feature on my favourite designer interview site out there, The Great Discontent. I sat down (or Skype’d) with Ryan and Tina and we got to the bottom of all kinds of dirt.
This feature also kicked my ass to get some official and high-quality photos taken, all professional and stuff. I enlisted the help of my talented friend Krista Comeau to make me look all 80s, and she made this scumbag look like a million bucks. Just look at that lighting! Thank-you Krista!
So, take a break from your Photoshops and go have a read on The Great Discontent. A huge thanks to Ryan and Tina for the awesome chat!
• Greg Gorman (holding Kurt’s wine), Kurt Russell and me
• Kurt, myself and Adobe Senior Creative Director Russell Brown!
• Kurt signed my poster!
In a super-taxing effort to not completely geek-out, last night I had the pleasure of hanging out in Hollywood with Kurt Russell and a bunch of other amazing people. We all had dinner, got to try his new wine, hear some hilarious stories, and got some shots of him holding THE THING poster I designed. Said he loved it.
R.J. MacReady holding my poster! What the hell?! Still can’t believe this happened to some kid from Dartmouth.
A huge thanks to my pal Russell Brown for instigating such an awesome night, and new pal (and photo titan) Greg Gorman for hosting. I’ll never forget this.
With tomorrow’s release of Far Cry 3: Blood Dragon, I’m proud to unleash my latest art for Dean and all my pals at UbiSoft. Since we focused on protagonist Rex Colt for the previous art, we all wanted to do something with the bad guys. And who better than the Omega Force?
UbiSoft really cut me loose on this one, letting me do basically whatever I wanted. Scan lines, pink wireframes, lightning, LED glows… man, everything I love. I even managed to sneak in a silhouette of Outpost #31, the base in my favorite horror movie THE THING. Don’t even think my dudes at Ubi caught that one. Heh heh.
• Quick character pose doodles for the UbiSoft team.
I’m extremely proud to show the work I’ve been doing for UbiSoft in support of their upcoming release, FAR CRY 3: BLOOD DRAGON. Me and the team at UbiSoft have been carving this stuff out for the past 8 months or so and having a great time the entire way. The game is super 80′s movie inspired, stealing cues from genre action films and VHS culture, so as you can imagine I was ALL OVER this thing. As the materials were linked online over the past month, a few keen-eyed nerds spotted a potential Signalnoise influence, well I can finally say that you were right.
We started off by designing the main logo for the game, seen above on the posters. Chrome letters and pink paint, we knew what we wanted right off the bat so I got to it. The posters were the biggest deal, and had me doing sketches and comps as we figured out where things would land to compliment the game aesthetic and all the awesome crap we loved as kids. When you have a client writing back saying stuff like “MORE FUCKING LIGHTNING!”, you know you fell in with a great crowd. I pulled out the Struzan-inspired techniques and got to it.
I should also point out, that’s one of my favorite action stars in there, Michael Biehn. You’ll remember him from TERMINATOR, ALIENS and THE ABYSS. He’s the star of the game and it was amazing to use his likeness in this piece. I was shaking as I built that poster.
That video was created by the team at UbiSoft and… wow, it just blew my face clean off. 80s animation, VCR tracking, so good. I didn’t have anything to with the trailer and I saw it for the first time when it was launched yesterday. I just needed to include it here out of pure love. The best game ad I’ve ever seen. So proud of my pals at UbiSoft.
There will be more to come as UbiSoft and I plot more goodies for FAR CRY 3: BLOOD DRAGON (which launches May 1, I believe). A giant shout-out to my pals Jason Eisener for linking me to this amazing project, and to my new partner in ’80s crime, Dean Evans for keeping me laughing and inspired the entire time.
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.