Walt Disney concert hall landscapes and 1950's costume life painting :)


Some Costume design... more on the way.

Hey everyone! This is just a costume design illustration comp as well as the thumbs and comps that lead up to it (please excuse the template that shows through on some of the drawings, didn't print it light enough apparently)... have a few more coming down the pipe soon!

The other weekend my car broke down and a few of my friends from art center really helped me out. Want to give a shout to AlexLindseyRebecca and Danny. check them out.


Life Painting from Costume Design class. First page is 5 minutes, Second is 10, third is 10 and 15, and last is 15. This dude literally jumped from a Leyendecker painting. His face was amazing.


I was going through my inspiration/ref folders and saw this portrait by Sargent and even though I dont really have the time to do this today, I couldn't resist. Everything is off by a bit but I learned so much, and got a brush I'm fairly happy with. (Here's the brush.) It isn't a 'Sargent Mimic' brush as you can obviously see :P, just a regular custom brush. (Johnny boy's is to the left, mine to the right)


Digital Landscapes

This post is going to be a bit more rough-and-tumble than usual.

We have a class at Art Center called Digital Landscape, with Nick Pugh.
It's a really great class, we go on location and paint places with a different focus (sometimes architecture, sometimes water at Long beach, etc.)
I was on the fence whether or not I should post these, as they aren't pretty and I still have a long way to go to get better, but hopefully some of you without the curriculum will try this yourselves!

Nick has us paint in the realm of 20 minutes per. Occasionally they are under 10, I think those speak for themselves :P Then once in a while there's a longer one, about 40 minutes is the absolute max.

In viscom 4 we are trying to dissect what makes a good quick 'sketch'- not so much in the form of a pencil sketch, but anything that is quick and communicates fast and accurately, and is appealing. After doing some research and experiments, I've grown fond of the sort of 'oil painter' approach that some people like Justin Sweet seem to employ- painting on top of your ground (toned cavnas). I've finally set up a tiny space where I can practice oils, so maybe given a little gamsol and a few years I can figure out the whole painting thing and do this a bit more justice...
-One huge thing that this assignment has reinforced though, is that if you spend a good amount more love on your drawing, rendering not only becomes more fun, but a bit easier. I heard a concept guy say once 'you need to put as much information as you possibly can into each sketch you do'. I would substitute the word information with either 'knowledge' or 'research'. In creatures, for example, the more accurately you can represent anatomy in a drawing, the better that sketch will sell. I know that sounds super basic but.. in my mind it pushes me to sketch harder.