Texturing is not done, but it looks pretty nice already (at least I think so). I’m painting these textures by hand in watercolor. Most of the lighting here is dynamic (enabling a nice flashlight effect, not shown here), although the sunbeams on the floor are baked. More to come!
What’s this? Apparently I’m making a small game, maybe. More details to come.
Doing a little project to become better acquainted with Blender Game Engine features which have been around for an embarrassingly long time now. Here’s the Justice Canyon arrival area (from Into the Titan), by day and night. All dynamic lighting.
More to come…?
The complete anthology of Sunrise, my now-completed webcomic, is now available for purchase. Until February 16, the option of a signed and/or drawn-in copy is available. See this page for more details, or see below and after the fold for additional pictures and information. Click here to go ahead and order a copy for yourself.
I’ve been making some vector icons for a client and one of them involved a slide carousel… not exactly something easy to draw in SVG! However, I took a quick shortcut through 3D which I’m now going to share with you. Take a look:
- I started by modeling a simple slide carousel in Blender, which took only a few minutes. I only needed the shapes, not the lighting, so I rendered it with some shadeless materials, thusly:
- I then used Illustrator’s auto-tracing function to get the shapes from the render. Since the source image was very high-contrast, the tracer did a great job for once. At this stage I also drew in many of the simpler shapes, primarily circles.
- Finally, I imported the Illustrator file into Inkscape to apply gradient fills, because Illustrator’s gradient tools are a leading cause of brain cancer in graphic designers. (It’s true!) The slide dividers benefit nicely from some clever banded circular gradients, to give this final result:
Not bad! Had I tried to draw this from scratch in Illustrator, I’d probably still be working… instead it took less than half an hour, and is about as photoreal as vector graphics can be.
This is a fateful date. You are probably already aware that it is Pi Day (especially so at 1:59) but it is also, coincidentally, the day that the Zarks were born. For it was on Pi Day in 2002 that I happened to create, almost absent-mindedly, a creature called a Zark to serve as a bit enemy in the embarrassingly-titled comic Space Kid. I’ve related this story a million times before, so I’ll just give the synopsis:
- Zarks turn out to be cooler than Space Kid
- Zarks gradually take over comic
- Zarks go on to star in video games and stuff
And so, to celebrate the first ten years of Zarkdom, I present the following show of rare and/or unseen images from their storied lineage. And if that’s not enough, I also offer you a digital copy of the complete Zirconius comics, a guide to the Easter Eggs of Into the Titan, and some old backstory: Maz’s journal. (Links are below the fold.) Share and enjoy.
Perspective is always somewhat of a struggle for me, so I’m doing some experiments to see if I can come up with an elegant drawing style that might allow me to bypass the vanishing point entirely. These two drawings represent my first foray along these lines, so expect more as this develops. These are just based on some photographs I had on my hard drive; both depict the Willimantic Camp Meeting Association in Willimantic, CT. Fellow artists, please do weigh in on these.
I’ve been rereading The Phantom Tollbooth by Norton Juster, one of my favorite books as a kid. Naturally I can’t top the original Jules Feiffer illustrations, but I thought I’d try drawing some anyway. Here’s my take on Tock the Watchdog, who I’ve decided is a Doberman. More illustrations to come, maybe.
I’ve been experimenting with powdered graphite. The white is Conte crayon. The paper is simple brown butcher paper, which (I discovered) clings to graphite powder and will not let go of it even with rather vicious erasing.
The “pony” I found by the side of the road some months back.
The Wind-Up Bird Chronicle by Haruki Murakami. Media: Sumi ink brush drawing with digital color. See original linework here.