Sunday, November 21, 2010

Busy Bumblebee - Process

Gotta new documented process of my traditional paintings. It was a quick demo I did this Fall quarter at SCAD. The students have to do some sort of "manimal" (part human part animal) This is what you get when Yaritza Burgos (AKA "Bumblebee Man" from the Simpsons) gets a "Bee Movie" body and finds a job.

Prismacolor Pencil transfer to Strathmore Illustration Board. 10" x 7.5" image area. Taped off with Blue Safe Release tape.

Acrylic and Ink base colors. Watercolor was used for the clouds that I don't have a picture for.

Oil wash made with Dioxane Purple and Permanent Green Light thinned with Gamsol.

Dried oil wash removed with kneaded eraser revealing highlights and unifying shadows.

Prismacolor pencil details. and color shifts in certain areas.

Final flatbed scan color corrected with touched off with digital signature.

Details reveal lots of great texture and variations in colors.

Whole process took about 8 hours, but not all at once.

Tuesday, November 16, 2010

Before yours and her very eyes

Made this little video of one of my many painting methods. Painting was created with acrylic, watercolors, an oil wash, Prismacolor pencils, and gesso in about that order.

Video was created with iPhoto 11' slideshow. Limiting options but works OK. Real easy once you do it once right. This was my first time doing the slideshow.

Big Eyes Surprise

Sunday, May 16, 2010

Shannon Elizabeth

One of my favorite sexy actresses. Totally created and drawn by hand in Corel Painter 11 using the sponge tool in the background and a few pastels sticks for her face. Click to to see details.

Tuesday, March 23, 2010

Decathlon Poster Process

New work!

A 16" x 20" poster I did as part of a demo for my Adobe Illustrator class a Portfolio Center. I just finished it today. I thought it turn out pretty good. Whada you think?

This part was done in Adobe Illustrator CS4.

I then copied certain grouped areas from Illustrator into a Photoshop document and created a series of Smart Object layers. Then I added various textures in the layers masks of the Smart Object layers.

Decathlon poster

The result is a the marriage of Illustrator and Photoshop. The best of both worlds.
I love texture!!

Decathlon poster detail

Tuesday, March 16, 2010

"Drawing Inspiration" book is out and I'm in it!

I'm proud, humbled and honored to be apart of this wonderful collection of superstar artists from around the world. I met the author Michael Fleishman back in 2000 at a Graphic Artists Guild convention and what bundle of energy and knowledge he was even then. This is my 2nd Fleishman book that I have been in.

Look what's on my drawing board?

Page 145: On this page I discuss working out value at the pencil stage before color, among other things.

Chapter 13 - Drawing Is Provocative, page 212 is all mine! One of the things I discuss here is what I teach in some of my classes. Andrew Loomis discusses the importance of the five P's and the five C's. Look it up if you want to know or ask me or better yet buy this 368 page 500+ illustrations book and read all about it.

Wednesday, February 24, 2010

New Process video!

Just created this process video for my Materials and Techniques II class at SCAD. Enjoy!

Skater Dude

Thursday, February 18, 2010

Brian Despain

SCAD Atlanta Illustration Dept. had a wonderful opportunity on Wed. Feb 17th with Illustrator turned fine artist Brian Despain. His Agent, Kirsten Anderson, of the owner and curator of Roq La Rue gallery in Seattle was scheduled for a lecture at SCAD on Feb 18th at 6pm behind the hub. Professors Mike Brown and Kenneth Knowles were working with Kirsten for the painting Dept. Brian was driving up from Florida (where he was staying) to meet with her at SCAD for some business. So we got lucky to have such an amazing talent or as his Dad would say "the best thing since sliced bread" to come a do a lecture and demo for the Illustration Dept. It was a great collaboration with the Painting and Illustration Departments that should happen more often. There was a pretty descent turn out with students and faculty. Thanks for all that showed up.

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Brian was a wonderful speaker and a self admitted artist that likes to be in complete control of not only his paintings subject matter, but every step in his image creation process. Coming from a commercial art background doing a wide variety of graphic design jobs, photo-retouching, video game 3D Modeler, but never really a full-time freelance illustrator. Now for the past few years he has really hit the gallery scene with his stormy clouds, robots, fish, numbers and other elements that captivate the viewers attention much longer than the typical quick read illustration. He talked extensively about his philosophy of art and the connection with the viewer.

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He had prepared a painting to start that was due in a month for a gallery show that his agent, Kirsten, was presenting. He starts with an idea, refines it with pencil, scans it in and in Photoshop and Painter he does a really tight color study while still working on fixing details, proportions and angles. This goes pretty quick with digital tools to take about 3 hours or so. Most of his work as relatively small , but he can but a ton a detail in the piece even at 8" x 10" or 11" x 14". The piece he was working on was 11" x 14". He "glues" a tight line drawing print to a sturdy hardboard. He does this first by sealing absorbent board with matte medium, sanding it smooth. Then he brushes on a layer of matte medium on the board and the back of the print which is on 3 ply bristol. He positions the bristol paper that is slightly larger than the board. Cuts off the excess paper. Then brushes it down and seals the bristol with about 5-6 thin coats (sanding in between dried layers) on top of the drawing. The results is a sealed smooth surface to paint on. He then prints out an color and black and white version of the color study.

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Painting in oils, Brian has a developed a very controlled and meticulous process that works very well for him. I certainly can't cover every aspect of his detailed painting process, but here is an overview from what I gathered. Feel free to further discuss this in the comments.

He uses the old masters technique of grisaille, which is basically starting with only gray tones of all the details of the painting then colorizing it with several thin layers of color on top of the dried grisaille. His gray color is a 1 to 1 mix of Ultramarine Blue (I think) and Burnt Sienna which produces a neutral gray. He has a special mix of his own oil medium which is three parts linseed oil, two to three parts stand oil and one or two parts oil of spike lavender. He likes the strength and elasticity of the stand oil but it’s too thick to use on its own, and the oil of spike is used as a diluent to speed drying time. Brian uses the oil of spike instead of say, turp as a diluent as it’s not as toxic though it is quite expensive. On his glass palette he adds his medium to the paint with a water dropper controlling the amount mixed in. With a palette knife he mixes then medium into both colors then mixes then together to create a neutral black. Then with white he mixes 4-5 grey tones on his palette.

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Then finally with cheap small fine haired flats, filberts, and round brushes he starts from the top down rendering the whole painting precisely in grey tones. His layers are very thin to increase the dry time but still stays workable on the board for the length of the painting session. Once the grisaille is dry he starts in with the color.

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Brain uses a palette of 11 oil colors that he exclusively uses on all his paintings. He developed a set of color mixing charts showing how all the color interact with each other and by adding white in varying value ranges. He refers to this constantly during the coloring painting stage. His favorite brand of oil paint is Rembrant and some Daniel Smith. To colorize the grisaille he uses a bit more of the same medium without thinners for a glaze showing the tone underneath the color. A painting this size would take him about 2-3 days do to after all the prep work is done working full days and drying the painting overnight.

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It was a real treat not only for the students, but the professors as well to see and hear about his philosophy of art and method of his madness and "pro tips". I know I was thoroughly enlightened! Thank you Brian for a fantastic and well-received lecture/demo. It was more than we all expected. You are welcome at SCAD anytime!

Tuesday, February 09, 2010

Aqua Teen Hunger Force background!

After working on 6 movie backgrounds for Cartoon Network's "Aqua Teen Hunger Force colon Movie Film for Theaters" (yes, this is the full title exactly). They called on my pixel pushing skills again for the TV show. Just this past Sunday the new episode of the Adult Swim TV show Aqua Teen Hunger Force "Rabbot Redux" aired and it had about 2 min of air time using a background I did! Took about 2-3 weeks to do back in December
2009. A bit about the creation process.

1. This is what the Art Director, Bob Pettitt, sent me as a starting point. This was used as a "holder" for the animation build of the scene. After talking with me about the scenes needs and he sending me a few texture files, food items for the salad bar I got started.

2. I established eye an level horizon line using one point perspective. Then I created most of the base mechanical/architectural shapes in Illustrator CS4 then by copying and pasting into Photoshop CS4 I created several smart object layers.

3. I sent progress to the AD a couple of times. I did not do the Ferrari. They already that done, I just had to make sure the perspective matched the rest and fit in between the bed and fountain. I had to make sure that the layers of objects were set up in such a way that the characters could go behind all the elements. So each object was on it's own layer with transparent backgrounds.

4. After creating in smart objects in Photoshop, I used them as clipping masks to add textures mainly. On some smart object layers I added shadows and highlights as clipping masks. This is the final background low res version. The original is 12000 x 3240 pixels (40in x 10.8in at 300 dpi) with 411 layers! High Def Baby!

Meatwad's Luxury Room

Some details - indoor horse stable!
Stable Detail

fancy luxury bed! I used the Vanishing Point filter and the Liquify filter to apply the bed spread pattern.
Bed Detail

Some screen shots of how they used them in the end. It was about 2 min of airtime. Pretty funny little scene.

Water Fountain, Lamborgini and Bed

Horse Stable, Salad Bar and Sexy Ladies

If you want to see the whole episode you can go to this direct link on the Adult Swim website, but I must warn you that it's NSFW, but not R rated. It's not the type of crude humor that everyone can appreciate. (If there is such a humor.) It's only a 15 min show, but to skip right to the scene go to the end of the first video clip and the next clip will load and it's toward the beginning of that video file.

Thursday, January 28, 2010

My Facebook Fan Page

My brother-in-law is also an illustrator and were are currently having a little friendly competition with our FB fan pages. The first one to 300 fans gets to take over the world! If I reach world domination I will only use my powers for the good of all human kind. In other words, I will NOT bombard you with lots of status updates to read. I promise to post only the best and most current work. I spend the majority of my time on this planet creating art for others to see and enjoy. I have got some really good stuff I'm working on and my Fan Page will be the first place to show it.

All I need you to do is to become a fan if you are not already AND to suggest fans by clicking the "Suggest to Friends" link below my profile image.

Jay Montgomery Illustration Fan Page

Thank you!

Sunday, January 24, 2010

Robot Dilemma Process

What's on the easel now is a acrylic grisaille with oil color.

Thumbnail base idea.

Tighter sketch, but still did not like the girl.

After a pencil tight I did a value study in Photoshop. Better girl but still not right.

Acrylic grisaille on yellowish base with only black paint and no highlights. I also fixed the girls pose a bit to show the bomb behind her back more visible to the viewer not the robot.

Oil coloring process.
This is about 2-3 layers in the sky and one layer on the robot and ground.

More to come.

Friday, January 15, 2010

Served with Southern Hospitality

For the past 6 years I have had the honor to do the main trade show image for the Hinman Dental Meeting. The largest dentist convention in the USA held in my home town of Atlanta. Every year we come up with a new concept on basically the same topic of continuing education in Dentistry. This years theme was Quality Continuing Education Served with Southern Hospitality. So I had the idea of showing a server with a serving dome in a southern type home. They wanted to include all sorts of native trees, and a porch with a rocking chair. At first the image seemed simple enough to illustrate. But there were lots of depth and layers to the piece that needed to all work together and it proved to be more complicated than I imagined.

After doing a scribble sketch at a meeting with client. I started building this in Photoshop using mainly shape layers. Knowing that the layers would be moved around to come up with the best composition. This composition proved to be to complicated with too many panes and needing an opening in the porch railing.

This was better but it was hard to tell that the server was inside the house. Plus the hand look like it had only three fat fingers. The angle of the fingers were a challenge to show all of them naturally. See the final hand below. The plate that the serving dome is on is in the shape of a circle and triangle which is the main part of the dentistry logo.

Final approved illustration. Notice the Hinman logo was used as the cuff-link.

To add pop to the image I slightly blurred the background. All elements are on there own layer. I also added a very subtle texture.

Let me know what you think?