Ape on the Moon: Contemporary Visual Culture » Comic Art

Engrossing Illustrated Scenes of Chris B. Murray

Alex Mathers — Tue, 15 May 2012 03:51:05 +0000

Chris B. Murray is an artist/illustrator currently residing in upstate New York who makes imagery that can make you stop and stare. Inspired by US comic art, but with his own unique, gritty twist, Chris clearly possesses skill and imaginative vision. Every one of his pieces creates a sense of energy and movement. He shares his work technique below.

I work both traditionally & digitally. When creating gallery work its 100% traditional. My paintings are normally acrylic although I’d like to get back to using oils & watercolor.

When doing editorial work the piece is roughly 50% traditional 50% digital. I’ll render the drawing with ink, graphite & markers…some paint might be applied in the mix. From there I take it it into photoshop and finalize it digitally. I show the step by step process in the ‘News’ section on my site.

Alan Dunne Talks Us Through The Making of His First Graphic Novel, ‘Get Off That Ship’

Philip Dennis — Sun, 06 May 2012 06:24:57 +0000

Dublin-based illustrator and designer, Alan Dunne’s first graphic novel, ‘Get Off That Ship‘ was born from an idea that he has been mulling over for seven years.

The result has been a historically accurate project that he has dedicated a lot of time into researching. It’s worth noting that the small details in the illustrations that describe the events of that period have been meticulously considered so that they are true to the facts and will please even the keenest enthusiast of the story of the ill-fated Titanic.

Aside from obviously having the most care and attention in even the tiniest areas of each illustration, the drawings themselves are pencilled in with the easy fluidity of a 2B. Watercolour and other textures are layered in, along with handwritten type to fill every inch with masses to look at and absorb. When we asked Alan to tell us more about his process, he was kind enough to give us a detailed breakdown of every step with examples to top it off— enjoy!

I first heard about Fr Frank Browne’s Titanic photographs in 2005 from a radio interview with Eddie O’Donnell, the authority on the life of Fr Browne. Since then, I have always been interested in his amazing adventure on Titanic. I always thought his story would translate very well to a graphic novel or animation.

The Script & Storyboard:

Over the years, I wrote a script based on his own recorded accounts and collected much research material in order to construct a narrative to be as historically accurate as possible. It turned out to be six chapters long with a prologue and epilogue, so a hefty tome that required a lot of planning and editing. As I work as a motion graphics designer for TV, there has often been projects that needed storyboarding, so it’s something I felt quite comfortable with.

Visual research:

Titanic enthusiasts are known to be the first to spot any mistakes Titanic-related in cinema. So, I was very careful to maintain visual accuracy and I have many folders of visuals for each location and scene.

Layout:

As ‘Get Off That Ship’ is my first graphic novel, it was sort of idiosyncratic how I came up with my work process of creating a graphic novel. When I work on a page, I would generally start by referencing the page’s thumbnail drawing from my storyboard, which is like my bible.

From this, I would plan the layout of the full-sized page on gridded paper, that way, I can accurately size up the panels with a panel gutters etc. For the next step, I draw from my roughs, sometimes using the lightbox as a guide. I would also paint the panel using acrylic using the light box.

Illustration Technique:

One of my favourite drawing tools is mechanical pencil with 2B leads. I use laser printer heavy stock paper— it’s smoother than Bristol board, and takes so well to the pencil, it glides very easily and you can achieve great effects particularly when shading. I would then scan this artwork and colour it on the computer. In order to give the imagery a more traditional style, I would scan in watercolour textures that I apply to the illustration.

Typography:

I absolutely love the aesthetic of hand rendered type. Often with graphic novels and picture books, the artist resorts to a typeface that is faux-hand written or a generic comic font. I have always been thrown by that and have considered it a process that needed to be really considered.

I therefore inked all of the type with a pin pen, never duplicating any of the letters to save time. And, though I have opted for a slower even painstaking process, I believe that it adds much character to the type, and people do notice those subtleties.

Interview and Process Breakdown with Andrew Kolb

Philip Dennis — Sat, 05 May 2012 13:02:52 +0000

Looking through Andrew Kolb’s work, it’s obvious that pop culture is a big inspiration to him. He pays homage to films and video games in his various projects and lists Mary Blair, the Disney artist who did the character design for the ride, ‘It’s a Small World’, as a big inspiration.

His own style of character illustration is just and fun and bubbly as anything you’d find in a Disney/Pixar movie, making him perfect for clients like The Pixar Times. Have a look at his illustration in which he decided to take on the task of including as many Pixar characters as possible.

When you feel you’ve named enough, have a read of our interview with Andrew, where he tells us more about his cultural references while also giving us a diagrammatic breakdown of his process.

As the name of your website, ‘Kolb is Neat’, suggests, precision is important in your work. What do you think influenced you to develop this style?

Ha. I suppose I’ve never thought of my work as “precise” per se. Now that you’ve got me thinking existentially, I suppose my approach comes from my background in graphic design.

The program I went through was (and still is) ALL about precision. We hand rendered fonts and were allowed measurements to be off by 1/64 of an inch. While all this measuring and such may have made us nearly go blind, it was a sort of Karate Kid approach to visual discipline.

Sorry, I’m rambling already! OK, what I’m trying to say is that my years of a graphic designer sort of shaped my mind to ensure there’s lots of structure and clear communication in my work. I suppose I hadn’t thought about the impact before. Man we’re off to an awesome start!

You mentioned that the Disney artist, Mary Blair is an inspiration to you. What is it about her work that resonates with you?

Yes sir! Mary Blair is the coolest. I’m an unabashed fan of everything she accomplished. I only hope that someday I can create imagery that is at the same time aggressively communicative and delicately beautiful as her work was. I think it’s that dichotomy that sticks with you.

How important is keeping a sketch book to you for developing ideas?

Well, I’ll admit that half of my concept work rarely starts in the sketchbook. I wouldn’t so much say that keeping a sketchbook is important as I would swear by not going straight to the computer.

My desk is often covered in sticky notes or bits of paper with all means of doodles on them because when an idea comes, I’ll simply grab whatever is available and draw/write/scribble. Much of my work eventually gets into a sketchbook, so they are important, but I’d be as happy with using the backside of junk mail if need be (and admit I’ve made makeshift sketchbooks by stapling office memos/print outs together).

During the course of one project, how much time do you spend working on the computer versus putting pen to paper?

Hmmmm. Of course it’s different for each project, but I can answer this way: the more time I spend on paper at the start, the less I will later at the computer. I would even be as bold to say that the ratio is somewhere in the range of 1:3. If I spend an hour with pencil and paper, I’ll accomplish the same amount regarding layout and concept as I would in 3 hours if I went straight to the computer.

I think as creatives we spend so much of our formative years drawing traditionally that we inherently accomplish more in less time because we have experience on our side.

So, I’ll bring this all back. I think that no matter the scale of the project, I usually spend about a third of the time away from the computer. Yeah that sounds about right. If I have an hour to do something I’ll still take 15 to 20 minutes to do a quick linear. On the other end of the spectrum I may spend 2 to 3 hours working through a sketch if the digital work will last me a ‘normal’ work day. Alright cool we kinda figured it out!

What do you try and achieve in your personal projects, which might differ from commissioned work?

Well I think the fact that it’s ‘personal’ work says a lot to what I try to do. Most of the work that’s my own IS very personal. Not that each piece is a diary spilling my soul’s deepest emotions, but I do take the chance to do exactly what I want and perhaps try something new. It’s very indulgent. Perhaps I’ll take the chance to work on a new brush or push something that I wasn’t as happy with in a previous piece.

At the same time I also look at personal work as a chance to start a new path. If there’s something I’d like to do more of in client work, I try to put that into personal work first. I’ve found it’s a lot easier (for both the client and myself) to point to existing work as a starting point for a commission.

Explaining an abstract concept like visual aesthetics goes a lot smoother when you have that base to build off of. So, I also approach much of my personal projects as “hey, I can also do THIS”. Once you’ve shown the world you can do something once, there’s no reason for them not to be confident you can do it again.

What advice would you give to someone trying to start a career in illustration?

Well, let’s see. I find most advice given is the sort that the speaker wished they had been told earlier in their career, so what do I wish I was told? I’ve always known that you get out what you put in, but my advice would be to recognise that this often functions differently than you might expect. I work better with visuals (what a surprise) so here’s a basic set of graphs illustrating what I’m trying to explain:

On the left is how I thought work, exposure, and the like (what I’ve labelled as ‘results’) functioned like this: consistently put in effort (draw everyday, keep up with social media, etc.) and the response will be relative to that (a slow but steady incline).

Instead I’ve found that it’s more like the graph on the right: you continue to put in effort but the results don’t seem to be going anywhere (particularly at the start) THEN all of a sudden it jumps. Something has caught (someone saw your work online, you got featured somewhere, who knows) and you’ve broken through to a new level. The work’s not done though because you’re seeing results but not that much. Keep putting in effort and eventually that jump will happen again.

With this all in mind (the idea that you’ll put in a lot of effort and not see results immediately), my advice is to not give up. The hardest challenge of this industry happens right before that next magical jump. You’ve spent so much time and invested a lot but you might feel stuck where you’re at. If you keep going you will eventually break through. When or how that happens is unsure, but frig it WILL happen if you keep going.

Oh yeah motivational speaking is the best! But seriously keep on trying (and trying hard, very little comes of half attempts and cutting corners). If it helps I recommend making this your desktop wallpaper, as I do when I need to accomplish a lot:

Colour and Fun Bursting at the Seams in Severin Millet’s Picture Books for Children

Philip Dennis — Wed, 02 May 2012 13:03:18 +0000

Séverin Millet creates picture books for children with such a decorative and explosive panache that they would stop the most serious of adults in their tracks. The first few examples here are from a book called ‘Où’, which seems to be (our French speaking skills lacking) an eventful object-finding game.

Whether you’re looking for the hidden keys of just delving into the multitude of brightly coloured objects, you may just find yourself browsing endlessly through the beautiful barrage of colourful debris.

As much fun and excitement these packed illustrations are, Séverin isn’t unfamiliar with a more stripped-back, clean approach too. In editorial work and print design you can also see a simpler side with a few carefully placed elements. Either way works for us, making it incredibly difficult to look away!

James Burlinson’s Narrative Zelda Typography

Philip Dennis — Tue, 10 Apr 2012 03:16:04 +0000

We like the humour that James Burlinson, aka Burlisaurus injects into his illustrations. The loudness of the fun in his characters is matched by the strong colours he uses, which makes his work full of energy and always enjoyable. In some examples here, he takes inspiration from a couple of his favourite games, including an open-minded and slightly trippy Mario.

For his Zelda project, James compacted scenes and events from the game, along with some cool baddies, into narrative typography. The compositions of the letters are cleverly worked out, with movement of the different elements constructing the majority of the letter forms.

We think that the ‘Z’ made completely out of the reflection of light against Zelda’s shield was a particularly inspired moment. James describes the process in making his witty character work.

I’m an Illustrator and designer, leaning heavily towards a specialisation in character design but I predominantly just focus on making character-centric illustrations with hopefully a pinch of energy, a dash of humour and a glug of funk.

My illustration process usually starts with sketches in blue pencil, this way I can scan them in, blow them up and ink over them before removing the blue stuff in Photoshop. I ink with a brush pen to get a nice diversity of thickness and an element of spontaneity, which comes with the lack of complete control.

Finally, I scan in my inked lines and use Photoshop for my layout, painting, colouring and texturing needs, I like to scan my own textures in, usually found on strange paper stocks, as unique as possible. My design processes are cleaner, for logo and branding work especially, I generally begin with sketches, which I then scan into Illustrator where I work on the rest of the process to a polished conclusion.

A Range of Printing Techniques and Humour with Quentin Duckit

Philip Dennis — Thu, 29 Mar 2012 09:22:52 +0000

Quentin Duckit creates bright and humorous illustrations using a variety of different kinds of printing. In all of them, there’s a lot of colour and humour. His good use of line works well with the kinds of printing he uses, including screen printing, linocut and wood block. We like the use of overlaying, and the witty kind of comedy, like in his illustration chronicling the stages of mankind. He tells us more about his interests and techniques.

I’m a big fan of multiple printing techniques like screen printing, linocut, and woodcut. I discovered it some years ago and it changed my way of thinking about images in my work forever.

I like to use these mediums, but I also like to work with watercolours, acrylics, indian ink, pencils and of course Photoshop. My influences are medieval art, tarot art, English or Spanish press illustration etc …

Cross Hatching and Groovy Colours in Olivier Bonhomme’s ‘Acid Jazz Essential’

Philip Dennis — Tue, 27 Mar 2012 14:51:47 +0000

Cool cats don’t just get down, but unfurl and twist across the page in this series of trippy images by Lyon-based Olivier Bonhomme. In ‘Acid Jazz Essential’, Olivier composes scenes of warped perspectives, wind-swept limbs, and groovy colours.

Amongst the storm of high-energy ink and humorous inhabitants, we also find moments of stillness, where we can stop and appreciate Olivier’s talent as a well-practised drawer. We like the combination of one-directional and cross hatching in the more built up areas and depth of tones achieved.

There’s an interesting play with light throughout the project, especially seen in the reflections in the wet city pavements of the musicians wandering into the night. Olivier talks us through all that jazz.

I always think about the volume and perspective in the drawing because I think it important to represent a universe without thinking about the codes. I used a whole bunch of techniques and mediums, but the main ingredient is the line itself. When I draw a scene I try to visualize it and I remember some dream sequences.

Search the symbols. I often draw with a fine Pilot pen or simply in pencil. I used to use pretty watercolor but I focus on the color on the computer recently. I love paper on which the pen slips well, as with Bristol paper.

Melanie Matthews’ Animal Friends with their Custom-made Brush Marks

Philip Dennis — Mon, 19 Mar 2012 10:54:36 +0000

Melanie Matthews creates these energetic and brightly-coloured animal characters from her base in Melbourne, Australia. With a mixture of expressive marks, she gets their personalities to pop out from the page, perfect for captivating her young audience.

We like the wide variation of mark making found in the details of her illustrations. You can see some dry, grittier marks at times, while elsewhere, the brush flickers around delicately. She tells us more about how she mixes it up and adds these lovely, tactile elements.

I work in a variety of fields but a lot of the work I do is for kids books/toys/games and advertising. My process starts on paper, where I sketch/write out ideas for whatever I am working on, and once I come up with something I’m happy with, I’ll take it onto the computer and into Photoshop to clean up the sketch. Then, depending on what my client needs, I’ll start laying out flat colours in either Photoshop or Illustrator.

Once the flat colours are all filled in I go back in with textures and line work.

The textures in my work consist of lots of different things, but most of them are scans of paint splotches. I use black acrylic paint to fill a sketchbook with all sorts of blotches, textures and shapes, and once they’re dry I’ll go through them and pick out the ones I like best.

Then I scan them and convert them into Photoshop brushes. I’ve also made brushes from photographs of textures too. Adding them to my illustrations is then a matter of ‘painting’ them in and blending them together until I get the look that I want. After the textures are all added, I’ll start drawing over the top of everything and adding all the final little details.

I work from a small studio located in the southern inner-city suburbs of Melbourne, which I share with an architect.

Animation Studio Buck Short Film for Oxfam and Goodbooks

Alex Mathers — Fri, 16 Mar 2012 14:07:33 +0000

LA and New York-based graphics studio Buck have created an extremely fresh-looking ‘Fear and Loathing’ inspired animation for Oxfam promoting the charity: ‘Good Books’.

We love the colour choices in this, not to mention incredible motion design that makes up a very well crafted piece.

‘Paul’ Graphic Novelist Michel Rabagliati Talks to Ape on the Moon

Alex Mathers — Mon, 27 Feb 2012 18:39:54 +0000

I’ve been an avid reader of Montreal graphic novelist and illustrator Michel Rabagliati’s semi-autobiographical ‘Paul‘ books for a few years (I’ve read each one about three times!), so it was a huge pleasure when Michel agreed to share some insight with us on Ape on the Moon.

Because Michel is, effectively, the Paul character we see in his books, it’s a surreal thrill to be talking with what feels like a character from the pages of a comic book.

But let’s now turn to real-life Michel, a hugely talented illustrator with a stand-out wonderfully crafted style, with a few questions about his work and his life…

How much practice did you have drawing before you started your graphic novels?

Well, not a lot really. I used to work only on computer. I was one of the first illustrators in Montreal to make magazine illustrations exclusively with Freehand in the eighties.

What made you decide to start drawing comics?

It’s been an old childhood dream. I used to read a lot of comics coming in from France and Belgium, and that’s what I wanted to do when I was ten years old. Since there weren’t any jobs in that field in Quebec, my father (a typographer) encouraged me to go to a graphic design school.

Which is what I did. And I totally forgot about comics during 20 years. But I really enjoyed graphic design too.

What is your usual work process from idea to finished piece?

A classic way of working:

First a written synopsis, then a rough story board, another pencilling, and the inking over it. Hergé, the creator of Tintin worked exactly the same way. I use classical tools. As a matter of fact I use my old Rapidographs bought in 1979 for my graphic design course!

Drawing comics doesn’t cost a lot, and unlike a movie, you’re in control of everything. I like that.

Do you have any plans for more ‘Paul’ graphic novels?

Yes, I’d like to do another one in the coming year. After all, this is my new job. I lost all my clients one by one, after stopping the graphic design, so I might as well use that time that is now given to me. But I need a good story first.

For me, comics is not about drawing like crazy, it’s more of a writer’s job. In fact, it took me very long to realize that. But when you look at comics like Peanuts, or Krazy Kat it’s all clear that you can carry a lot of emotion with just a few simple lines. That’s what’s cool about drawing comics, almost anybody can do it, if you have a good story, and some basic narrative techniques.

How do you spend an average day?

I’m very disciplined for a comic artist. I sit at my table around 10 and I finish around 4. Five days a week.

I have a workshop outside my house in downtown Montreal. Then I come home and play a little accordion and fix supper. There’s no real rush or deadline for me anymore, like there used to be when I worked for agencies or magazines. I wish that kind of freedom to anybody!

What are you working on at the moment?

I’m working on a translation into English for ‘Paul à Québec’: “The song of Roland” in English that will be launched at the Toronto comic arts festival in May of 2012, by Conundrum Press, my English publisher.

I hope the readers will like it. And I’m also working on a screenplay for that same title.

The movie will be in live action and will be shot near Quebec City next fall. That’s pretty exciting! But soooo different than working with pencils and pens on paper.

What are your plans for the future?

Nothing extravagant. Just writing and drawing comics I guess and of course, improving my accordion!

Thank you Michel, we are all very much looking forward to the film to your subsequent comic creations!