Rushmore Continued

Since the last posting about the 8x8 project a lot has happened. Jo gave me some good feedback on how I could improve my two images so I've done a few changes. Yesterday we met with Gary and the guy from MMU to show our images and explain our thoughts behind them. The meeting went well and we must wait until Tuesday to find out who's images will be selected. I will include the outcome next week so watch this space.

Rushmore Final....Well Almost!

I've just finished my two illustrations for the Rushmore story and I'm really happy with how they've turned out after Photoshopping the final elements together. I decided to do both in watercolour so they look the same when printed. It's been a while since I painted anything in the traditional sense so the process took me a lot longer than usual. I still have some effects to apply to the picnic scene to make it look more weathered but thought I'd post what I've done so far.

Email From Tom Gauld

Tom Gauld's illustrations have fascinated me for a while now. He uses elements of dry wit, and intricate cross hatching techniques that make his work really appealing to me.

I recently emailed Tom a few questions and here is his response.

1. How did you first get into illustration?

I studied illustration at Edinburgh college of art and the royal college of art and graduated in 2001. I made a portfolio, got a few names of art directors from tutors and from looking in magazines and on websites. Then I started cold calling them and asking if I could come in with my folio. Everyone I met I'd ask if they knew anyone else I should see. After quite a few months I started ti get a slow stream of work which became enough to live on.


2. How did your style develop?

I'd say that my style has simplified a bit and Ive probably developed a wider range of things I can draw well and learned to use colour. But I haven't made any major changes.

3. Where do you get inspiration from when coming up with ideas for your work?

I take inspiration from things I see in my life, on tv, films, Internet and books. I come up with specific ideas just by sitting, doodling and thinking.

4. Do you have a working method when starting an illustration?

I draw in sketchbooks and on loose paper, getting various ideas down quite quickly. I never start on a finished drawing till I have a good concept/idea which works as a simple sketch.

5. Your work is very intricate in terms of mark making have you always drawn this way?

Vaguely. I got particularly into crosshatching when I discovered the work of Edward Gorey in about 1996.

6. When your not illustrating what do you like doing?

Reading, cooking, Lego with my children.

7. Do you have a favourite illustrator at the moment?

I like lots of illustrators. I've been looking at jochen gerner quite a lot recently.

8. Is there one piece of your work that you're most proud of?

I've just finished a 96 page graphic novel and I am proud to have got it finished.

9. Your sketchbook work looks amazing, how important is it for you to keep a sketchbook ?

I've got really into my sketchbook in the last 5or so years, I like that it keeps a bit of a record of my ideas, even the ones I don't pursue at the time I have them. When I'm stuck I flick through my old sketchbooks to harvest unused ideas.

10. Lastly, what advice would you give to an aspiring illustrator?

Just try to make work which would appeal to you even if you hadn't made it.

Tom Bancroft Replies

(Above artwork by Tom Bancroft)

Tom Bancroft is an accomplished character designer and animator. He worked for Disney feature animation for 12 years working on films such as "Beauty and the Beast", "Lilo and Stitch" and "Mulan" to name just a few. Tom went on to found his own company "Funny Pages Productions" with good friend Rob Corley. The company has provided illustration, character design and artistic animation development for many major children's entertainment companies.

I bought Tom's book "Creating Characters with Personality" (published by Watson-Guptill Publications, 2006) to help me with the Disney brief. The book is crammed full of great tips and advice for getting the most out of your characters designs and also has some great assignments to practice on.

Anyway, I recently emailed Tom some character design related questions and he very kindly replied.

1. How did you first get into designing characters?

When I went to California Institute of the Arts, I had my first Character design class (taught by Mike Giamo) and fell in love with it. I already loved drawing characters (from the newspapers, comic books, etc.) but this was the first time I was pushing myself to design my own- and make them better.



2. What inspires you when coming up with ideas for your work?

Other people’s artwork. I think all artists are fans of art first and foremost. The internet is an eternal well-spring of artwork. Its a bit like American Idol though, you really have to dig through some bad stuff to find the good stuff sometimes.



3. Do you have a working method when starting a project?

Sort of. It’s nothing groundbreaking though. Time is always of the essence, so I jump into my list of what I need to learn BEFORE I start drawing. Read the script or bio of the character, research whatever animal or character type or style that is being requested (usually on the internet), print out as much reference that I could gather so I can have it in front of me, then start sketching away. From that point, its straight forward and all design challenges. Always different. Step 1 is the most important. Know what and how to draw what you are designing.



4. I read you worked at Disney for 12 years. Was this your dream job and what was your first day like?

Yes, it was my dream job, though I didn’t know I was dreaming it. I thought I wanted to be a comic strip cartoonist when I was young, then I thought I might be a comic book artist. Animation was last. I discovered it just after high school, then really got sucked into it. I wanted to tell stories with characters and that’s always been my goal. The first day at Disney was exciting. I was with my twin brother, Tony, and we had both been chosen as two of many interns for Walt Disney Feature animation in Burbank, Ca. All of us were students and everyone was so excited to be there. Sharing that moment with strangers that soon became your good friends was even better. We took a tour of the Disney studios that first day and knowing that we were going to be getting to know all these people was great!



5. When your not sketching and drawing what stuff do you like doing?

Just be with my family. We don’t do a whole lot, but I have 4 girls and the older two are cheerleaders so we got to a lot of high school and Middle school football games! I just watch the cheerleaders; my wife is the big football fan.



6. Are you working on any exciting projects at the moment?

I’m not sure “exciting” is the right word, but the most recent project that I have been very involved in is the website AbcMouse.com. My partner, Rob Corley, and I are co-art directors on the project and have been working full time with them for the last two years. I’ve illustrated about 20 children’s books, designed many characters, created some animation, and tons of other random things for the avatars and rooms you can decorate. Its an educational website for Preschool and Kindergarten age kids.



7. How long has Funny Pages Productions been going and what would be a typical working day for you?
We’ve been going for about 7 years now in Tennessee and I did it solo for about a year before that in Florida. That’s quite awhile for a start up company, much less an art studio. A typical day doesn’t really exist but the general version is: an hour of more of emails in the morning going over artwork from outside artists we are working with or just emailing clients, getting reference for whatever art project I’m doing that day, (hopefully) 4-6 hours of drawing to get the jobs done, and an hour or so at the end of the day to do scanning and whatever Photoshop work that needs to be done to send off the work to the client (via email usually). Coffee is in there around 3 to 4:00.



8. Is there one project you are most proud of?

Probably the film Mulan, and more specifically, the character “Mushu” which I designed and for which I was Supervising Animator. Some scenes I can look back at and I cringe (of Mushu and other characters) but for the most part, I am still happy with most of my work on him. I worked hard on that film, and that hard work still shows, I think. “Least proud of’ is easier to think of, but I won’t mention it.



9. How important is a sketch book to you and how often do you refer back to it?

For most of my career, I’ve been terrible at keeping a sketchbook. I’ve never really been comfortable drawing in them because I tend to draw large and I feel “confined” in the space of the sketchbook. That said, about two years ago, I started keeping sketchbooks for the first time in my life. Regularily, I sketch in them- though not every day like some do. I’m still not great at it, but I can say I’ve actually filled up a couple and I’m on my third one. I’ve never been able to say that til recently. What is MOST important is that you draw everyday. I CAN claim that, so don’t throw anything at me, okay?



10. What is the best piece of advice you have ever been given?

One of the first things you learn at Disney is: “Don’t fall in love with your drawings”. Which means a few things. To me, it meant I shouldn’t commit to drawing too tight too soon for fear that I would “stay with a drawing” for too long even though it wasn’t working. I should throw it out and start over, but it’s too “pretty” and detailed to throw away at some point. Secondly, it means that even if a (finished) drawing is great, if it doesn’t suit the animation or the story, throw it out. It puts you in the thought process that just drawing nice isn’t the goal but having a goal to your drawing is what matters.



11. Last but not least, what advice would you give to an aspiring illustrator/designer?

As I mentioned above, draw every day. So many beginning artists contact me and ask how to break into a given studio or job in art but they aren’t asking the right questions. Its not what tool you use, not who you know (well, maybe a little), or how nicely put together your portfolio is. The answer is in your ability. If you can draw well you WILL get hired. That’s the answer: you.


Check out more of Tom Bancroft's work on his blog or Deviant Art Page and for more information on Funny Pages Productions visit their website

Music Live

We also have another brief running alongside the 8x8 brief. This one was set by Manchester design studio Music who have asked us to create artwork for the outside of their conference room. The room is glass fronted and quite a large area to cover so for this brief I'm teaming up with fellow classmates Megan Thomas and Dominique Byron.

One of the conditions of the brief was we had to choose a music track to illustrate, so through the power of Skype we had a meeting and decided to choose Daft Punks "Harder Better Faster Stronger".

Were having a group meeting on Tuesday morning to discuss any ideas we have so will make an update of any further developments.

Rushmore

The current brief I've been working on for the past few weeks is a collaboration with writers from MMU where we were asked to create an illustration for a short story. The story I'm illustrating is "Rushmore" written by Robert Cowan. The story is set in the future where the planet has been affected by radiation poisoning and the rich and influential have fled the planet leaving behind the poor who become sick. The main character is a corporal named Jack Rushmore who is left in charge of a small office where he has to power to grant visas illegally for his own gain.

We got a chance to meet with the writer and were able to run through some of our initial ideas and ask some questions about the story.

When talking to the author he mentioned a poem that is referenced in the story. The poem is called "The Lime Tree Bower My Prison" by Samuel Taylor Coleridge.

The poem is about Coleridge who wallows in self pity as he is unable to go on a journey in the country with his friends. Limited to sitting under the lime tree he uses the power of his imagination to alter his perception and takes himself on the journey with them. At the end of the poem he realises that nature can be found anywhere even under the lime tree bower that he once felt so confined.

I guess this links in with Rushmore as he is trapped on a dying planet with no immediate means of escape and has to make do as best he can.

My plan was to recreate the image of a family enjoying a picnic under the lime tree bower which symbolises a time when the world was a happier place and nature flourished. Below is my inked version, which I'm planning to do again in watercolour to give it a softer feel.

Neil Hanvey

I saw Neil's work in this months issue of Computer Arts magazine and really liked his style of working. Neil works mainly in Illustrator to produce his work with elements of Photoshop. I really like the use of line and texture he uses and of course the surreal humour that runs throughout his work. I emailed him to ask some questions and within about 30 seconds had a reply.

How did you start out as an illustrator?
I've always doodled traditionally but about 8 years ago I joined an online art forum, it's spiralled from there really. I didn't go to art college or do art at university. I didn't even do art at secondary school. I'd describe myself more as a blagger than an illustrator. I'm still waiting for someone to cotton on and say 'He's actually just drawing random crap!' I work full time as a web developer and do freelance illustration so I have the option to only pursue the illustration jobs that I can get passionate about. 


How would you describe your style and is it influenced by anyone in particular?
I think I have a quirky style that's not too cutesy and not too clean. I could reel off hundreds of people I'm influenced by but a shortlist would have to be niark1, j3 concepts, dj bisparulz, jeremyville, jon burgerman, frank kozik...I'll end it there before I get carried away.


What piece of work are you most proud of?
Probably either my King Kong NYC piece or my Tron Legacy one as that one won me a MacBook. Mor recently I think it has to be my chracter development pieces.


How do you go about starting a piece and what software do you like to use?
I normally start with the title and work backwards from there. I mainly use Illustrator although I do occasionally stray back into Photoshop.


How did you get yourself noticed?
I signed up to every art portal/portfolio site that I could (deviant art, behance, coroflot, slash three, shadowness, designers couch, dribbble, revuh, etc) and just kept posting work and getting to know people in the online art community. Over time I've just built up a steady profile by keeping active.


How tough is it to find illustration work out there?
I don't actively pursue illustration work so I'm not 100% sure to be honest but from what I've seen and understand, it's definitely a tough market out there. 


Do you have any advice for an illustration student that's just starting out?
Get signed up to every art site possible, you might not have a massive portfolio at the moment but the future networking opportunities you build up now might be invaluable in the future. 
Start a blog, twitter and facebook page. Blog about things related to illustration, art and things you like.
Stay original. It's ok to be influenced by people but nobody likes a copycat.


Thanks for your time Neil and for getting back to me so quickly


You can check out his website here: http://www.neilhanvey.co.uk/