Sunday, August 10, 2014

Teeny Tiny Cacti- Succulent Illustrations in Copic and Watercolor

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Materials: Kaimai Sol K Ink, Copic Sketch markers, various watercolors, Caran d'Ache Pablo watercolor pencils, Winsor Newton White Gouache, Fluid Cold Press Watercolor Paper

One of my favorite downtime activities is rendering plants from reference.  A rough sketch in pencil, inked with brush and Kaimai Sol K, my favorite Copic-proof ink, and let it dry a couple days.  Then basic colors with Copics, shading added later on with light watercolor washes.  Once everything's been dry for awhile, add in details with color pencils, and maybe white highlights with white gouache.  There's something very rewarding about these little illustrations- I'm honing my eye for color, playing with materials I love, engaging my interest in plant life.  A bonus is that in the past, illustrations like this make for popular sticker designs, and I plan on listing the originals in my online shop soon.

Wednesday, August 06, 2014

Guest post: Joseph Coco: Akai-con preview

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Akaicon is a small but growing three day anime convention located just outside Nashville, TN.  Artist tables are $150 for the weekend, which is higher than MTAC's $125, and given the fact that artists and dealer's share a vending space, artists may not find the additional expense worth it for a smaller convention.

Last year, Becca and I briefly scoped out Akaicon as a potential convention for her to table at. It's local and relatively inexpensive, but after attending last year we determined it wasn't worth our time. Akaicon did their homework though and followed up with this blog's post. Not only did they mention specifics about how some of the issues for artists would be addressed this year, but they invited Becca to attend to see the changes they made.  Although Becca had been promised a comped badge to get into the show in order to reassess the convention, the ball was dropped somewhere along the line and I had to pay $20 to get into the show.   Rather than a weekend pass badge, I bought a day pass bracelet.

Unfortunately, Becca was scheduled to attend Mechacon on the same weekend, so I attended in her stead to give the reorganized convention another pass over.

Impressions of the Artist Alley

The first thing I noticed was that the dealer's room/artist alley was much larger than it was the previous year.




Finding the exhibition hall was easy because it was labeled on the map I picked up at registration, but I don't recall there being a sign identifying the exhibitor's hall. The doorman stopped me, unable to see my my badge because I was given a bracelet day pass.



The doorman affirmed it was the dealers room and an artist pointed out dealers were around the walls and artists in the center of the room. I walked around and noticed a variety of wares for sale. There were the staple items--prints, charms, buttons, perler bead art, bookmarks, apparel, hair pins, kanzashi, plushes, kimonos, commissions, et cetera. The artist alley portion was mostly fan art, though I did see and purchase some original art as well as some Japanese culture items. Thankfully, there were no katanas or anime body pillows. There were also a few unexpected items, like original water colored artist trading cards and hand-made clay figures. I did not see any comics, though I had a great conversation with artist from Memphis, TN who hopes to have a comic out in a months time.

Most items were reasonably priced. I didn't scope out the dealer's prices or wares much, but the artist's had items ranging from $1 - $20. A couple artists said sales and traffic were slow but decent on Friday, but picked up Saturday. I'm not sure how things went Sunday, as I attended Saturday evening a couple hours before the AA was closing. One person who had a great spot said attendees frequently purchased as soon as they walked in and that he or she banked over $400 on Friday, and did even better Saturday. Overall, the artists seemed positive about the show as a whole and were in good spirits considering they had just worked a full day. They had no complaints about the organization, attendees, programming, or the artist alley location which was a bit far away from the front, but the convention isn't big enough for it to be considered a trek. No one mentioned the table prices, so I presume they were reasonable and most people seemed to have their own table.

Photos of the Artist Alley























Impressions as an Attendee

I had a good time talking to people, and there were plenty of panels for anime fans, cosplay enthusiasts, a few for general geekery and even less for creators. There were a handful of events and tables in the AA which had 18+ content, but they were labeled as such and I would say the show in general would be fine for a younger audience as long as they're being supervised. The majority of the attendees were teenage age, many of which simply sitting on the floor in cosplay hanging out like last year. But they seemed courteous and not awkward or oblivious like you can sometimes find at anime conventions. I forgot to check out the gaming room, and considered going to a panel on making vinyl look like leather just to see the general quality of the panels, but I ended up heading out.

Logistics were straight forward. I pulled into the parking lot and as soon as I saw people parked in medians, on the side of spots, etc, I pulled out back onto a side road and I noticed had many cars which appeared to be illegally parked on them.



There were a lot of questionably-legal parking jobs

I ended up parking on the road under the "They can't tow us all" clause which so many people falsely rely upon. There was no signage indicating it was okay to park there, but I later ran into the head of the dealer's room for MTAC who was working the event for the GMX table and he assured me the hotel works with the Nashville police department to accommodate the overflow parking onto the road. It didn't take long to find parking even though the hotel was clearly over their capacity for hosting an event. There were signs leading me to registration, and things seemed to be laid out similarly to last year--except the exhibitors room was probably the largest room in the convention now.

Main entrance

Registration table



Other convention promotional tables in the hallway


Some conventions had games and prizes to lure people in to have an actual conversation about their convention

Others simply had abandoned tables with fliers
I spent about $20 in the AA. Which isn't bad considering there were no comics to be found.

The poster is the reverse side of map/schedule. I forgot to picture the Mario mushroom metal hairpins I bought.

He's hard to see in the big picture, but oh so cute

Verdict

I think Akaicon did spend what they made the previous year to make improvements this year. Last year, neither  Becca nor I stuck around long either time we went, but I engaged many more people this year and spent a bit more. It still costs $20 for a day pass for attendees, but it seemed better organized, better attended, and more content-rich.

I've seen some Akaicon promotional materials at other conventions in the area, and it seems like they're really trying to please fans. MTAC is probably still the better convention for artists to table, but if you're looking for a smaller investment, or interested in tabling at multiple anime cons in TN, I would definitely check it out. Bare in mind Becca has yet to table at Akaicon, but likely will next year. It's important to note that MTAC's artist alley is in a hallway individually, while Akaicon's is in a large, open room with dealers. Both have their advantages, so it may boil down to whether you personally sell better across from dealers or in a dedicated artist space.

Becca's Suggestions for Improvement

  • Lower the cost of the artist alley admission
That's it!  Akaicon's grown a lot since last year, and I really hope it doesn't coincide with Mechacon, as I'd love to give it a shot.

Friday, August 01, 2014

Bravest Warriors: The Search for Catbug Spread Progress

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After many months of anticipation, the time has finally come when I can show you guys the process work for my spread in Bravest Warriors: The Search for Catbug, published by Perfect Square!  I've been sitting on these photos since December, eagerly awaiting when I could share them with you guys.

The Bravest Warriors spread was a HUGE opportunity for me to really break away from my comfort zone while still working in watercolor.  When I was approached with this project, I knew I wanted to do something cute and brightly colored, rather than rely on the subdued hues I use in 7" Kara.

Brainstorming

I knew from the get-go that I wanted my spread to involve candy and sweets if possible.  Bravest Warriors, the animated series, features bright, bold colors with a distinctive art style, and this was something I wanted to carry into the spread as well.  Bold, bright, and intense colors can sometimes be difficult to achieve with traditional pigmented watercolors, so I knew I'd be integrating dye based liquid watercolors as well.  

The first thing I needed for this project was a concept, and I made lists of possible ideas that all involved candy in some form.  My favorite was a giant picnic planet inhabited by friendly ants and bees- it offered cute storytelling opportunities without becoming too saccharine.

After I decided on a basic concept, it was time to knock out some thumbnails.

Thumbnails




I noodled around with a few different compositions and layouts, trying to find something that felt like it'd fit the needs of the book.  I ended up ordering a couple used Where's Waldo and I Spy books off Amazon for reference and inspiration, and decided I wanted the spread to be pulled out and very visually stimulating, with lots to look at.  I knew that adding more detail would make it harder for the reader to find Catbug, but still keep the reader's interest.
Even when I knew what I wanted for a basic layout, it still took some doodling and noodling around to really land on something that worked for me.

When I felt like I had a decent concept, I made a thumbnail template layout sheet, and produced a clean thumbnail to send to the editor in charge of the project, Joel Enos.


Once this thumbnail was approved, I blew it up to fit 2 sheets of 8.5X11 paper, and printed the bluelines.

Even in this tight thumbnail, you can see I had several 'zones'.  The foreground, which had a cupcake village next to ants sharing a picnic blanket.  Slightly past that was the hot chocolate river with a candy bridge, and a path flanked with gumdrops leads to the gelatin 'city.  In the background, a forest of ice pops and a mountain of ice cream with a hot fudge waterfall into the cocoa river.  Further back, fluffy clouds of cotton candy pile up against an otherwise clear sky.

Rough Sketch


Of course, these bluelines had a LONG way to go- I needed to add in a lot more action and storytelling.  Being primarily a comics storyteller, I found this an interesting challenge.  A Seek and Find is meant to deceive the eye away from the central character (the one you're trying to find), and to do that, I needed to have many focal points on the page, rather than just one.  To do this, I opted to tell several mini stories throughout the page, using the Bravest Warriors characters and the ants as actors.





At this stage, I added in a LOT of detail and tightened up the looseness of the thumbnail.


The finished and scanned rough.  This was emailed to Joel for approval before starting the next step- pencils on watercolor paper.

Pencils on Watercolor Paper

One of my favorite steps, since all the hard work is done!  When I do watercolors, the tight pencils are my equivalent of inks.  This is my opportunity to push lineweights a little bit, fill in areas of black, and generally tighten up the sketch into something that approaches the finished product.

This spread was done on Canson Montval paper, the same paper I use when working on 7" Kara.  This paper is cold pressed, and 140lb, so while I probably don't HAVE to stretch it, I still do.  Since the pad is tape bound on one end, I can easily remove sheets and run them through my printer.  Once I stretch the paper, those bluelines wash away, since my inkjet isn't waterproof.  I used H lead in a .7 mechanical pencil, my go to for pencilling watercolors.











Although its not shown, I rest my hand on a sheet of paper on top of the pencils to prevent smearing the graphite or getting excess oils onto the paper.

Stretching The Spread






My Bravest Warriors progress was interrupted by a (very much planned) trip back to Louisiana to see my family.  I did my pencilling in Nashville, then packed everything I'd need and flew back to La.  Something I didn't count on was how awful the lighting at my mom's house was- I've gotten used to working under natural light lamps in my studio.  This made color selection a bit more difficult, which was compounded by the fact that I wanted to use concentrated liquid watercolors for this piece- synthetic dyes that react differently than the natural pigments I'm used to.

Applying Watercolor



My painting conditions while in Luling were much different from those in Nashville.  For awhile, I worked on the floor, but since my mom has wood floors and I have carpet, this was killer on my back.  I also wanted to make sure my palette stayed consistent, so I ended up buying little sealable containers for my paint mixtures rather than using a palette.  It took me awhile to find a painting groove, but once my mom volunteered her kitchen table as my permanent (while there) work station, it was a lot easier to get work done.





When working on watercolor spreads, I try to have the two halves of the spread as close as possible on the stretcher board.  Since doing this spread, I've switched to stretching my watercolors on gatorboard (a corrugated plastic board that political signs are often printed on) which is lighter, cheaper, and produces better results, but for this spread, I ended up borrowing my younger brother Devin's large drawing board.

Since I was working outside my narrow Kara comfortzone, I applied initial washes to everything to get an idea of the actual working palette.









































Finally, a shot of my workspace!  Personally, I'm not really hot on using little sealable containers for watercolors in general, but it really saved my bacon on this project.


And a shot of the spread after I started layering washes.





















As you can see, I really use my stretching tape as a sub palette and swatch area.  It's pretty handy, as long as you don't run your hand in wet paint.













Finally reached a point where I could utilize my regular palettes.  The concentrated watercolors were really troublesome- they gave me hues I couldn't otherwise achieve, but were so fugitive!  I couldn't apply layered washes, because it'd reactivate the original color, making the wash muddy.












Removing The Spread from the Stretcher Board




Doing the translucent stuff was a lot of fun!  I used concentrated watercolors for the gelatin city in the background and regular watercolors for the food cube igloo.

Applying Pencil Color Accents








Final Assembled Watercolor 

After I finished applying pencil color and watercolor pencil details, I needed to scan this piece.  Scanning watercolors can be challenging, but I have a few tricks up my sleeve that I honed while working on 7" Kara.  One of my little tricks is to scan with a decent scanner- I used a Canoscan 8800 F, and scanned each page in two parts.  I then used Photoshop's photomerge to stitch the two halves of each page together, and manually stitched the spread together utilizing the clone tool to erase the dividing line between the two halves of the spread.

Before Fixing


After Fixing

If you guys enjoyed this post, and want to see more, you should definitely consider buying a copy of Bravest Warriors: The Search for Catbug yourself!  It was announced at SDCC, and it's a beautiful, full color, large format hardbound book.  You can request it at your favorite bookstore, or order it online through Amazon.  It's full of beautiful spreads and fantastic artists, although I'm a little pleased to be the only watercolor artist in there.

Working on this project was a lot of fun, and I really enjoyed the opportunity to work on a professionally published property, especially one that's so cute. I watched a LOT of Bravest Warriors on Cartoon Hangover while working on various stages of this spread, and I highly recommend this web series/comic series (KaBoom! produces it) to anyone who enjoys shows like Adventure Time, or remembers Cartoon Network's Cartoon Cartoon lineup fondly.  I hope in the future I'll get to do more work like this!
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