Do you add texture to your drawings?

Posted on Sep 30, 2016

A question was posed by another artist regarding a painting of a dog they were working on (they were particularly asking in regards to fur):

svslearn_therese-larsson_painting-furDo you add texture to your drawings?

Here were my thoughts:

Painterly vs. Textured is really a personal stylistic choice.

I tend towards highly rendered & textured work (or totally graphical too actually).

SVSLearn.com has a great video on “Painting Fur & Hair with Therese Larsson” that may be helpful for you in making a decision.

I tend to paint like she showed, but I also learned a lot & adopted a lot from how Aaron Blaise paints (overall, but also fur). In fact, it was this video of his (“Speed Painting – Photoshop Rajah from “Aladdin””) that prompted me to purchase some of his tutorials, brushes & such a year or 2 ago: https://youtu.be/LuaMG0_-xWw

Note: Aaron has Fur & Hair brushes for sale on his site: CreatureArtTeacher.com However, I only tend to use these for things like facial hair or small hair areas (like the snout of an animal) and often it serves just as a quick underlay or as a texture enhancement overlay. The bulk of the hair/fur is done by volume shaping first then getting more detailed with each pass (Like you’ll see in the video by Therese, Aaron, and the examples below)

I grabbed other tutorial images & videos from my Pinterest board “Technique

pinterest-badge-144px

Video watching fox fur being painted:
https://www.pinterest.com/pin/299770918929122459/

Step-By-Step Image with text:
https://www.pinterest.com/pin/299770918923237455/

3 Step Image:
https://www.pinterest.com/pin/299770918929381585/

More detailed series of images with instructions:
https://www.pinterest.com/pin/299770918919695683/

Image of Step-By-Step Instructions for Human Hair:
https://www.pinterest.com/pin/299770918919695613/

Image of Human Hair Instructions Part 1 (I think):
https://www.pinterest.com/pin/299770918919695615/

Image of Human Hair Instructions Part 2:
https://www.pinterest.com/pin/129548926753710468/

Image of Human Hair Instructions Part 3:
https://www.pinterest.com/pin/299770918919695617/

Image of Human Hair Instructions Part 4:
https://www.pinterest.com/pin/299770918919695620/

Image of Hair References:
https://www.pinterest.com/pin/299770918919663720/

Hope all of this helps!

Where are you from and what projects are you busy with?

Posted on Sep 15, 2016

Another artist posed a question in a forum:

Where are you from and what projects are you busy with?

My answer:

I’m from Dallas, Texas

I work mostly in 2D Digital (Photoshop, Illustrator)
(Though looking to go back to and incorporate traditional as well. I miss inking, acrylics, gouache, & colored pencils)

Background:
Origin was illustration, but the past 18 or so years have mostly been in the advertising & intellectual property development industries, doing creative & art direction, ad campaign dev., content dev., logo & brand dev., graphic design, web design & dev., product & presentation dev., strategy & biz dev., etc. (Probably easier to just go here: http://quietyell.com/resume/)

Current:
Going back to roots of illustration with the intent to re-enter the children’s media market (PB/MG/YA book/periodical, packaging, toy/stationary/other-product, game, etc.) with an illustration focus for myself. Working on developing industry relevant illustration portfolios while attempting to improve a variety of aspects in my work (drawing, painting/rendering, concept/narrative/story-telling, speed, etc.), as well as learning & “networking” as much as possible.

How long does it take you to finish a piece?

Posted on Sep 10, 2016

Another artist posed the question:

How long does it take you to finish a piece? Do you plan your drawings before hand?

Here’s my response:

I use Toggl.com to track my time (though there are other options).

toggl_service_logo

I have noticed 3 or 4 tier levels:

  1. DAY (1-10 hours) : Simple work, like a character headshot (note: I don’t do portraits, but I would assume that those take much longer) Though, I’ve seen just absolutely amazing work by Artgerm (Stanley Lau) and Aaron Blaise that only took them a couple hours or so (I cry just thinking about it!), and concept artists tend to have to work very, very fast too. Lee White references this and other timing in the first part of his “How to Make Money in Illustration” series: Part 1, Part 2, Part 3.
  2. HALF-WEEK (15-20 hours) : Just slightly more complex than above.
  3. WEEK-ish (30-50 hours) : One or two characters with a relatively basic background (by “basic”, I don’t mean a gradient. I mean that there are background elements but not as involved as #4)
  4. 2-WEEKS-Beyond (60-80+) : These could have just 1 character with an elaborate background or 3+ characters with a basic-to-heavy background. The more complex each character & the background, the more time it will take.

(Note: This is per the current highly-rendered-and-textured style I’ve been doing, not my line art, vector art, or other simpler styles. Also, this is where I am roughly at right now, as it seems that I can now do work in half the time as to what it use to take, and the work is even of higher quality than before.)

These numbers are a little deceptive though. They can be just in-development drawing & rendering time; not included in the timing would be research, brainstorming, studies, etc.

As Simona discussed, the front work is really quite important.

For instance, gathering ample visual & educational reference on the elements of the piece is of immense help in designing/rendering and bringing narrative & emotional richness to the work. That research covers everything from a wide range of several photos of the particular element in different angles, lighting, texture details, etc. to use as reference to a range of illustrations done by others of that particular element seeing how they handled it to education about that element’s background or way of “operation”, etc. (i.e. the history, science, culture, etc. around that element)

Undoubtedly, this alone could take “endless hours” if you allowed it to. And similarly, doing character/element sketches from different structures, angles, poses, etc. along with value studies, color studies, etc. can add in more “endless hours.”

If you don’t have deadlines, have flexible ones or simply a lot of time allocated to a piece, then you can allow yourself to take as long as you feel you need “right now”. Get a feel for how long it takes to do each portion (research, studies/prep, “final” drawing, rendering, and don’t forget about all the admin stuff: phone/emails/meetings, quoting & invoicing, formatting files, file-folder maintenance, etc.). This will allow you to reverse-engineer the time you have for each portion for when you do have a deadline, because if it takes you a long time to render, you may have to cut down on the amount of studies you really want to do even though it may not be ideal.

Also, per my little note just below the tier-breakdown: How long it takes to paint a piece is quite dependent upon the style you pursue. I’m sure a Dutch/Flemish layered oil painting technique takes insane amounts of time while a highly painterly digital art piece can be pretty quick or a whimsical line-art with simple watercolor wash can be even quicker. Plus, how long it takes can change as you grow more experienced and/or learn new time-saving techniques.

Thank you for this topic! I’m always evaluating my time too!

Do you draw on both sides of your sketchbook paper?

Posted on Sep 8, 2016

Another artist posed the question:

Do you draw on both sides of the paper?

My response:

If you are using pencil or some similar dry media and do on both sides, there is a potential for images to rub against one another when the book is closed, thus causing smudging & such. Also, it might make scans and/or photos of the page show a hint of the sketch on the underside (if done dark enough and the paper isn’t thick enough).

Though I tend to just use “white” paper since my sketches are more for “play”, I have loved the sketching work of Kevin Keele, who does on browns & grays. On one of his Instagram posts, he said, “The process I take when sketching an image: I start by doing a rough, light drawing with a ball point pen ( zebra f-301s are my favorites). Then I fill in the shadows with a 50% grey Prismacolor marker. Next I go back to the ball point, fill in all the dark details. Last, I use a white gellyroll pen to add the highlights.”

A couple of links on Keele:
https://www.instagram.com/kkeeleart/
http://beawesome.blogspot.com/

Oh also, Jake Parker has a list of his tools on his site:
http://mrjakeparker.com/tools

Period of Silence

Posted on Apr 1, 2014

period-of-silence_2014-2016

I am writing this at the end of 2016 and backdating this: I hadn’t realized just how long it’s been since I posted to this blog! Much has happened since the March 31, 2014 post, but it was never posted. So, I’ll be adding some posts backdated to their approximate occurrence, such as artwork created, significant events, etc. Hopefully, I will be able to start consistently posting starting in 2017!

Keep up to date with other posts social media activity; below is where I’m most active:

http://www.Twitter.com/ScottMonaco/

http://www.Instagram.com/QuietYell/

http://www.Instagram.com/QuietYellSketches/

http://www.Facebook.com/QuietYell/

http://www.Pinterest.com/ScottMonaco/ (21k+ art pins)

Also, you can find me posting here:

https://www.linkedin.com/in/quietyell

https://www.scbwi.org/members-public/scott-monaco

http://scottmonaco.deviantart.com

https://www.behance.net/ScottMonaco

https://www.artstation.com/artist/monaco

QuietYell Products: ¡Hola, Lipsy Lola!

Posted on Mar 31, 2014
QuietYell™ Featured Portfolio / Product Design : ¡Hola, Lipsy Lola! 01 - Visit www.QuietYell.com and Find QuietYell on CafePress & Zazzle

Stroll down South Beach and you might holla “¡Hola, Lipsy Lola!” when you see those luscious Latin lips and all the other lusciousness that follows! Your QuietYell™ might not stay so quiet for very long!

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QuietYell Products: Baby Navy Bear

Posted on Mar 15, 2014
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“Ahoy!” is the QuietYell™ of the Baby Navy Bear, welcoming you into his summer beach fun!

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QuietYell Products: Sweet Arrival

Posted on Feb 17, 2014
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We’ve journeyed so far, and we’ve traveled so long. Finally, our arrival at the Sweet Kingdom has come!
We’ve followed the path, the only way that’s right; To arrive at Sweet Kingdom with unending delight.
There’s plenty to have in this Sweet Kingdom of joy, So we’ve kept inviting every girl and boy.
The land is covered with such delightful things, We hurry to see what the Sweet Kingdom brings.
There’s a chocolate river that seems to be living. It comes from the throne of the King who’s so giving.
His palace glistens atop the mountain, And excitement bubbles just like a fountain.
All are lit from the glorious sun; Finally, our arrival at the Sweet Kingdom has come!

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QuietYell Products: Butterfly Away

Posted on Dec 10, 2013
QuietYell™ Featured Portfolio / Product Design: Butterfly Away in Hualien, Taiwan 01 - Visit www.QuietYell.com and Find QuietYell on CafePress & Zazzle

A tribute to the breathtaking sense of magical wonder felt when I first visited Taroko National Park (太魯閣國家公園) in Hualien, Taiwan (台灣花蓮) in 2008, and to the massive varieties & quantities of butterflies found across Taiwan, “The Butterfly Kingdom” (蝴蝶王國).

The landscape is based off of the suspension footbridge of Taroko Gorge (The Jhuilu Bridge at Swallow Grotto (錐麓吊橋 @ 燕子口), 24° 10′ 8.75″ N, 121° 31′ 53.58″ E), and the butterflies are based off of a Taiwanese subspecies of “The Great Orange Tip” (端紅蝶) butterflies (specifically: Hebomoia Glaucippe Formosana).

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