

Some new layouts & custom illustrations for a video re-skin.


Some new layouts & custom illustrations for a video re-skin.
After years of flirtation with the idea, I finally called some friends in the industry, asked some questions and settled on a 3D modeling/animation software package: Maxon Cinema 4D. I’ve just begun experimenting with this and am hopelessly hooked. To sum it up, this is fucking rad.
Here’s a quick test of the basic 3D modeling, using a logo I designed about 10 years ago: NWFT, for Northwest Fat Twins, a brand for a friend doing some cool videos in the local ski industry. This is just the beginning…

See a very short animated version on YouTube
Here’s one more. This is a logo comp from about a year ago. On the right is the 2D logo concept. But I always pictured this as a sculptural glass piece, like a lobby sign. Now I can bring that vision to life. Great!

Finally, a crystal. This was an experiment in making a few simple polygons, freehand. But I wound up getting interested in some of the internal, optical distortions that occur in natural crystals. I made a couple attempts to include some bubbles, cleavage planes and fissures. It was a quick attempt, but I like the results. A little detail can make all the difference.

And the animated 360 rotation here.

I’m exploring some new techniques and styles using the new Corel Painter 12. I think I might try something like this for the cover art of Dog-Matic & The Beagle’s first book.

I’ve made a stack of these on recycled paper grocery bags, all in different colors. My favorite are the monochrome white ones. There are more process photos on Flickr, if you’re interested in how it’s done.
These will be mounted on box canvases, about 9 x7 inches.



I’ve just created a new Flickr set called Dog-Matic Sketches and Scraps.
I frequently snap pics of what’s new in my sketchbook and sometimes I mashup old frames from the comic with new dialogue. If you have any interest in that sort of nonsense, have a look.
And of course, you can catch the regular strip here: Dog-Matic & The Beagle

Although it feels like it’s been years in the making, looking back, this has been a pretty quick process. Six months ago, this wasn’t even an idea. Five months ago there were a handful of scribbles in a Campari-stained sketchbook. Now there are two lovable dogs with a turnip patch and a lifetime of adventures ahead of them. And most importantly a website where you can check in on them. I’ll have a lot to say about the strip, the process, the artwork and the inspiration in the future. For now, just have a look yourself:
Here’s the official site: Dog-Matic & The Beagle
Here’s the Facebook Page. Enjoy.
Special thanks to editor, collaborator, co-writer and Web Master General, Geoffrey Smith. And equal heaps of thanks to co-editor, supporter, inspiration-giver and wife, Nikki Cole.

Assuming it’s not some kind of April Fool’s Day practical joke, I’ll be showing some art on Friday, April 1st, at Fremont’s Portage Bay Goods. It’s a great little store, full of quirky goodness. They will be open for Fremont’s monthly Art Walk event, and I’m assuming there will be some kind of treats – I’ll look into this. I think I heard something about some wine.
I’ll be showing a mix of material, mostly focused on some favorite themes: Robots, animals-wearing-ties, creepy-old-guys and probably a bicycle or two. I guess it qualifies as a mixed media show. My favorite techniques include a home-brewed printing processes, usually combined with hand-painted bits, sometimes some ink or pencil, cut paper, stencil or spray paint. Amongst all that nonsense will be a few good old fashioned paintings, and I’m very likely going to do some screen printing experiments (on paper), which should be fun.
Update: Wine and snacks are confirmed. Also, special business hours on Art Walk nights: Open from 10am to 9pm. Cool.
Another update: I just spent the whole afternoon up to my elbows in ink and paper, making some screen printed greeting cards and mounted art for the show. There are some fun process photos on Flickr. Here’s a teaser, two of the finished cards:

When it rains, it pours. For years I’ve been looking at my Wacom digital drawing tablet, hating it. It made my hand hurt and I had never been able to make the necessary hand-eye connection that makes people able to draw naturally on one surface (the tablet), while looking at another (computer screen). Suddenly that has all changed. I learned some tips for setting up the tablet (most notably, screen ratio mapping – duh!), and just as important, I gave it another try. Suddenly I can draw on a computer just like I can on paper and THIS CHANGES EVERYTHING. The ability to correct mistakes, change colors, draw in layers – it’s priceless. I still love ink, paint and paper – I really do – but this is going to change everything. I’ve also discovered the very-lifelike tools available in Corel Painter, and using that in combination with Adobe Illustrator and Photoshop is getting me the results I want: a hand-made analog look, with all the edit-ability of layered, digital art, no scanning and no setting up and taking down an illustration station with inks, pens, brushes, water jars, etc. I know, that stuff has some real tactile appeal, but the bottom line is that it’s a pain in the ass, and that means that the work doesn’t happen. I’d rather it happen.
And this is just the beginning. Here (above) are a few doodles from the last week of playing around. But this is nothing – just testing the tools and setting up. I look forward to REALLY getting into it in the near future.

Done. Illustrated and animated by myself (and most of the copy writing too), within the fertile creative environs at Phinney Bischoff Deign House. Check out this post for some behind-the-scenes, sketches, etc.
I love this Atomic Age, kid’s stuff, and it happened to align with the client’s needs. Perfect.
I just found this old illustration that I did a few years back. I’m posting it just to keep the blog fresh – and because it caught my eye as I was organizing some old files. I often underestimate this style. It’s pretty easy to execute, so I often under value the results. But every time I present an image such as this for a project, it’s very well received. I guess there is something comfortable and friendly about the child-like line work. I do enjoy drawing in this style.

I spend my days toiling in the creative candy mines of Phinney Bischoff Design House. This week I’ve been working on an animated ad which will appear in movie theaters. Here’s a quick snapshot of the process so far.
After a script is approved, it is sketched as a loose storyboard, to figure out the basic idea of how the words and graphics will relate to each other, timing, etc. This is a messy process, which involves many eraser crumbs.

A sketched storyboard is usually accompanied by one or two frames, fully rendered as examples. This is a detail of one such illustration. I’ve gone to a lot of trouble to make this look like an authentic, vintage sci-fi poster, taking exception in certain details like color saturation etc, for effect.

After the storyboard and sample illustration are approved, the whole storyboard is fully illustrated so that the client can approve all visual elements and final image sequence. That will happen this week. The boards are ready.

After final storyboard approval will be animation. I’m looking forward to that. Should be lots of fun.
I keep telling myself to pull together a gallery showing. One of these days, probably. Here’s another piece doomed to wait eternally for that show.


I’ve been working on this style/technique for a while now… gathering inspiration, scanning/hoarding textures, drawing vector plants and rockets. Most of these elements have been in my stash for a year or longer. There has been a vague vision in my head, and I think I’m finally getting it. Layers of textured paper with shadows/depth between them. Lighting applied over the whole thing to saturate the center region, while darkening the edges. Finally a lens blur to the edges to add to that perceived depth.
I love the idea that you are seeing all this inside some kind of old-fashioned Viewmaster, a projector with a thick glass lens or a Magic Lantern. In motion graphics, the layers would move/focus independently – and selectively to nail that depth of field effect – and a hint of flickering light over the whole thing could certainly add to the vintage projector feel. I wish there was a way to add that burning dust smell.
I’m sure this will evolve quickly, now that I’ve finally gained some traction. I hope so.