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Entertaining End Credits: Cloudy With a Chance of Meatballs 2
We've featured the talented animator Pete Oswald here on Abduzeedo before and are excited to share some of his recent collaborative work we stumbled upon. Enter the comedic end titles to the hilarious and highly entertaining Cloudy with a Chance of Meatballs 2. The spirited sequence is a combo platter of stop motion and Flash directed by Craig Kellman and Pete and animated by Screen Novelties. Enjoy the subtle humor in this fun-filled culmination to a most entertaining film. Cloudy With a Chance of Meatballs 2 End credits from Screen Novelties on Vimeo. Stills For more information check out http://peteoswald.tumblr.com/
Cartoon Characters by Shane
Shane is a young Illustrator from Paris with some amazing skills. These cartoon characters look like tattoo designs and each piece has something special. Check them out. For more from Shane visit behance.net/hellorishane.
Marvellous Artworks by Bibo X
Here at Abduzeedo we get to see a lot of amazing artworks. Like an infinity of it... in every possible style one may imagine. But very few times I get totally excited by an artist like I got for Bibo X. He's a Chinese artist with a wide range of styles, and all of them are just marvellous. If I was an illustrator I would love to draw like Bibo does. I think that this more doodly, cartoonish style is great for filling notebooks with thousands of cool sketches and just the thing I really love to see. This is only a brief selection of his pieces. For more of it, please visit his portfolio at Behance! Cheers. ;)
Endearing Illustrations by James Gilleard
James Gilleard is an illustrator and animator based in London, United Kingdom. Heavily passionate about old cartoons, especially 1950s animations, pulp comics, 1960s culture and more. James is crafting his art through a variety of themes both historical and modern where the results are just lovely. All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard All Rights to James Gilleard Links: More info on James Gilleard: http://www.jamesgilleard.com Follow James on Behance: https://www.behance.net/jamesgilleard
The Greatest Rides by Ido Yehimovitz
Ido Yehimovitz is an illustrator from Tel Aviv, Israel and he created an awesome collection of vehicles from movies and TV shows that he used to like in his childhood to present day. He will keep adding more cars but the set that he put together already is quite impressive and I have to say, I love the style of these illustrations. For more information about Ido visit https://www.behance.net/IdoYehimovitz
Cartoon Network Summer New Look
You're not the only one refreshing your look for summer. Courtesy of its in-house creative agency Creative Group, Cartoon Network received a summer makeover, with a new set of brightly colored images and a video seamlessly blending the work of top animators around the globe. As part of the 2013 “Summer Refresh,” the new graphics feature popular Cartoon Network characters, such as the Annoying Orange and Finn and Jake from Adventure Time. Inspired by their cool new look, Creative Group took the daring step of stitching together a 60-second video comprising the work of six different animators and animation companies from around the world. “We referred to this as our science experiment, mainly because we weren’t totally convinced that it would work,” - Leslie Kleine, Producer on the project Jacob Escobedo had this vision of several animators of varying styles creating unique pieces that could then be stitched together into one interstitial. In the end, we reached out to animation teams from Australia, France, Portland Oregon, Atlanta Georgia, and two from the UK, and they were all enthusiastic, even though they wouldn’t know what the others were doing. We gave them character art, a color palette, a warning against nudity, and ten seconds – those were the only rules. This project was an incredible lesson in risk, but also one of the most rewarding that I’ve ever worked on. What we got exceeded our expectations.” Here’s a little more about the Summer Refresh project: The graphics package includes images of some of Cartoon Network’s most popular characters arranged into a totemic image. When looped end-to-end, the graphic totem becomes a unique, yet recognizable pattern that now informs all of the network’s on-air elements, including bumps, lower thirds, promotions, and interstitials. The video utilizes an “Exquisite Corpse” technique to seamlessly blend 10-second pieces from the six animators into the final 60-second product. The animators included: Australia’s Rubberhouse; France’s CRCR; the UK’s Alex Grigg and Eamonn O’Neill; and the US’s Impactist (Portland OR) and Awesome Incorporated (Atlanta GA). Impactist also created the music for the spot. All six animators were given three simple rules: use the same color palette; include characters from Cartoon Network shows Adventure Time, Regular Show, MAD, Ben 10, Gumball, Looney Tunes, and Annoying Orange; and don’t include any nudity. Take a look at the Summer Refresh video here. Stills Credits Animation Impactist – Portand, OR Awesome Incorporated – Atlanta, GA CRCR – France Alex Grigg – UK Eamonn O'Neill – UK Rubberhouse – Australia Music Impactist – Portland, OR
Collection of Adventure Time Fanarts
Adventure Time have become on of the most popular animated series of the last 5 years. Picturing some really weird and psychodelic stories of the last human boy and his talking shape-shifting dog friend in the land of Ooo. Even though this brief explanation may sound weird, I advise anyone too watch at least one episode of this innovative cartoon.Adventure Time is an American animated television series created by Pendleton Ward for Cartoon Network. The series follows the adventures of Finn, a 14-year-old[1] human boy, and his best friend Jake, a dog with magical powers to change shape and grow and shrink at will. Finn and Jake live in the post-apocalyptic Land of Ooo (Wikipedia). Merkwurdigliebe13 Pocketowl eddsworld Sin-nombre Ushio-MissingNo Traptastic PurplePeepBits chupachup Montygog jenmundy SpicyDonut XrQ0000000-a Yamino ReevolveR tysonhesse sakura-studio dragonalth schillingart tabby-like-a-cat thekidKaos ReineDesCanards DecoPinkDingo linkfreak131
Interview with Skinny Andy
Today I have the pleasure to show this in depth interview with Skinny Andy, a really skillful and talented illustrator. Andy was kind enough to show his perspective on illustration, life and other issues. Hope you guys enjoy it. For more artworks from Andy, please access his Flickr Gallery 1) First of all I would like to thank you for doing this interview, it's an honor for us to present more about you to our readers. I would like to start asking you about when your interest for illustration and cartoons? Thanks for having me. I’ve enjoyed drawing for as long as I remember, but it wasn’t until I took a couple of digital art classes my senior year of high school that I really got hooked. This was in ’98, and computers were still rather foreign to me back then. Other than playing a few educational games (Oregon Trail, Odell Lake) I hadn’t used computers all that much. So my mind was pretty much blown when I was introduced to Photoshop. It was then I realized that I could do a lot more with my art than just doodling in a sketchbook. 2) Which artists do you use for reference? A lot of my early inspiration came from comic illustrators like Charles Schulz (his early Peanuts work), and Hank Ketcham. Later I started looking more at vintage children’s book artists like Mary Blair, Al White, and others whose names currently elude me. 3) Your style is quite influenced by cartoons, comics and childbooks. How did you develop this style and how would you describe it? When I first started out in art I was all over the place. I didn’t have one single style, media, or subject matter that I would stick to. I would dabble in digital media, mixed media, and traditional media. I would jump around from darker mature themes, to whimsical and kid friendly ideas, all the while not doing anything to make myself stand out as an artist. It wasn’t until I took a step back from my aimless dabbling, and looked at my overall body of work that I realized I was pretty good at drawing simple, cute, and clean vector art. It was at this point I decided to focus all my attention to this one area, and as a result my art started showing a marked improvement, and most importantly my own distinct style eventually emerged. I would describe my style as simple, cute/cartoony, and often whimsical. 4) Describe us a bit about your creative process while creating a piece. There doesn’t seem to be any rhyme or reason as to how an idea pops into my head. When an idea does strike me, however, I usually sketch it out first, scan it, and then redraw it in Adobe Illustrator. I sometimes use Photoshop when I want to add some textures, but for the most part I stick with just clean vectors, and a simple color palette. 5) What's the best thing about working with illustration and what is the worst? The best part is just the opportunity to create something, which I’m sure is what originally attracted all artists. The worst is probably working for a closed minded client. I’ve had a few designs that followed the client’s request(s) to a t (because he/she would accept nothing else), that turned out looking so horrible I no longer wanted my name associated with it. 6) How do you describe your daily routine? I really don’t have a routine when it comes to art. If I have an idea I like I’m usually drawing it, otherwise I’m just looking for something to spark new ideas. 7) Which is your favorite piece so far? I currently don’t have one piece I can pinpoint as my favorite. There are plenty I’m happy with, but not one that stands apart from the rest. I am my own worst critic, so just to be able to say I have designs I am happy with is a step in the right direction. 8) Tell us five lessons you believe are really important for every illustrator. I can’t think of five things at the moment. I would say to make sure you always enjoy what you are doing. If you are no longer having fun drawing then something needs to change. Also be open to criticism. Not all of it is productive, but occasionally you can find some gems if you are willing to listen. 9) Tell us some websites that you like to visit I visit many sites, but here are a couple that I have visited recently: www.threadless.com/ http://printpattern.blogspot.com/ http://www.illustrationmundo.com/ http://www.flickr.com/ 10) Thanks again for your time, please leave a final message for the ones who are starting out on this kind of business. Always have a personal side project going, so you have your own creative outlet outside of client work. You will be happier for it.
Interview with Anton Emdin
Today we have the great pleasure to interview one of the top cartoonist from Australia, please welcom Anton Emdin. He told us more about his creative process, lifestyle and perspective on life and career, hope you guys like it. You can see more of Anton's work at his Official Website. 1) First of all I would like to thank you for doing this interview, it's an honor for us to present more about you to our readers. I would like to start asking you about when your interest for illustration and cartoons? Thanks to you! The feeling is mutual. I'm happy to be here. I've always been interested in cartooning. When I was three or four I was copying Mickey Mouse, Pinocchio, Woody Woodpecker, all sorts of cartoon characters. My parents have boxes of these drawings, mostly down on that old-school lined printer paper with the tracking holes. I'd read those old Harvey Comics - Richie Rich, Casper, Hot Stuff, as well as Archie and all those kids comics that were popular in the 70's and 80's. I was (and still am) obsessed with MAD magazine, too. My dad collected them, and I used to pore over them at any given chance. 2) Which artists do you use for reference? I have a reference file, but it consists of random images from different artists and photographers - no one in particular. I have pinups and nudes, colour reference, faces, general inspiration. Basically, anything I like, I keep and stash away. 3) Your style is quite influenced by cartoons and american comics . How did you develop this style and how would you describe it? I'm definitely most influenced by mid-century American comics and cartoons. I love the craftsmanship of the old comics and newspaper strips. They really knew a thing or two about drawing back then. But I also grew up reading the kids comics I mentioned before, and then later as a teen and adult I watched the Simpsons and Ren & Stimpy, which had a big influence on me at the time. I guess I'm always being inspired, and I like to think my style is continually evolving. But to answer your question, I think that using brush and ink was the biggest factor in defining my style. It forces you to develop confidence in your linework, as there is no margin for error with a sable brush. 4) Describe us a bit about your creative process while creating a piece. More and more I sketch extensively before going in to ink. I use a lightbox to keep refining the pencils until they are right. I used to go in too early with ink, and I think the drawing suffered a little for it. After sketching I ink either digitally (in Photoshop) or with a brush on paper. I rarely do hand colouring. It's something I want to explore more, though. So after inking, I colour underneath (again, in Photoshop). I like to mask off many areas of the illustration so I can easily select them during the colouring process (eg. forground, middleground, background, certain figures etc). Recently, I coloured up an illustration more organically - as if it were a real painting - and noted how much longer it took than using my selection method. 5) What's the best thing about working with comics and what is the worst? I'm always grateful to be able to do what I do as a profession. There is no worst - I don't take this lifestyle for granted. I love the magazine and editorial stuff the most, though. Being handed an article and given creative control is what I live for. 6) How do you describe your daily routine? I get up early. This is not of my own free will, however. I have small children that enjoy jumping on dad's head at 6am. If I'm feeling spritely, I do some exercise, otherwise, it's just breakfast and in the home studio at around 8am. I draw about five or six illustrations a week, so they are usually at various stages of sketch, ink and colour. I try to juggle them - so while one is off for approval, I'm working on another. I always warm up a little before inking, too. This can include sketching on another project, or just doodling before getting into it. So I just work away for the day, and knock off after 5pm, spend some time with the kids, and then back to work for a while after they sleep. I try not to work too late, as I just end up working in my dreams, too. 7) Which is your favorite piece so far? My favourite piece is the one I'm working on right now. Tomorrow this will be different. Some seem to stand the test of time better than others - ones that come to mind are Don's Party and the Rise of China (for the Spectator). I quite like the recent Avengers piece I did for MAD. I'll be posting this to the blog soon. 8) Tell us five lessons you believe are really important for every illustrator. Hmmm... 1) Never miss a deadline. In fact, stay well away from deadlines. Editors and clients like to know they can depend on you. Imagine if you were in their shoes - would you hire you? 2) Don't overwork your drawings. This just wastes time and erodes spontaneity. If I'm early on a deadline and the art is looking good, I'll stop and work on something else for a while, then come back to it later. You'll find it's actually pretty much finished and won't need too much noodling around (as I'm wont to do with too much time on my hands). 3) Observation is your greatest tool. Over time I've learnt to 'see' better, and this translates into better drawing. 4) Learn maths. 9) Tell us some websites that you like to visit Today's Inspiration (http://todaysinspiration.blogspot.com.au/) is one of my favourite haunts. Ger Apeldoorn's blog is a nice resource for old comics: http://allthingsger.blogspot.com.au/. Drawn is also a good daily peruse: http://blog.drawn.ca/. Other than that, Facebook feeds me a lot of good stuff. 10) Thanks again for your time, please leave a final message for the ones who are starting out on this kind of business. Don't work for free. Don't work too cheaply, either. Turning down shitty jobs is good for the soul. Seriously - you can use that time to make a strong, personal portfolio piece that will get in fact get you more jobs than the watered-down gig that's paying peanuts. Thank you so much for having me here! It's been great fun.
Create Courage, The Cowardly Dog in Illustrator
I don't know about you guys, but Cartoon Network was like the Disney of the Tv channels when I was a kid, such a big range of awesome series and characters. So today I decided to pick one of them and highlight on a tutorial. I know some of you may not be familiar with Courage so here's a brief video that explains a bit this hilarious character. I would say this tutorial it's half a case-study and half a tutorial, I'm just saying that before someone may complain of the fast pacing on some parts. Anyway, If you're used with my illustration tutorials, this will not be a big deal, please have fun. Step 1 Ok, let's begin opening Illustrator, create a 31 x 23 cm canvas. Let's begin with the background. Using the rectangle tool (M) create two big rectangles and thin one between then, just like the sample bellow. Select the upper one and go to the gradient panel, create a golden radial gradient on it, use the gradient tool (G) to posicionate it on the right place. Add another gradient on the lower big rectangle, use the previous tool to place it on the correct place. I decided to apply a pattern on the upper one in order to make it look more like a grandma house ambient. You can get this texture here. Later I used the blending mode multiply, with the texture over the previous gradient. I also decided to apply some wood texture on the ground, go it on the same place. Yeah and as you can see, i did the same with the thinner one, just watch for the bleding modes and the gradient directions. Step 2 So, I did a rough sketch of what I would like to obtain, the main concept was to make Courage's shadow a frightening demon image. Also, trying to make the best use of the lightning. Create a exclusive layer for the shadows (command + L / ctrl + L) Ok, let's start by the shadow, using the pen tool (P) start by the leg and elbow, the shadow got a refraction on the wall, that's why it look like bend on the half. Before proceeding on the rest of the drawing, you should give attention to the hands, since as most people know, some hands can be very tricky to draw. Ok, then draw the rest of the body as the original sketch. Paste the hand you created, duplicate, reflect and resize it to the other side, then use the pathfinder option called Unite to make then and the body one piece. Unite the legs also. Use the pen tool (P) to create the demonic ways, it's pretty much just like drawing triangles, don't forget to add a bit of perpective on it. After that, draw the sharpy teeth mouth, then select both mouth, eyes and body, go to the pathfinder panel and use the option called Minus Front. Finally, add a black to white gradient to the shadow, use the gradient tool (G) to place it correctly. Then use the Multiply blending mode to make it look like a real shadow. Step 3 Ok, let's skip to the main part, first create a exclusive layer for him (command + L / ctrl + L). Start by making a circle on the belly using the ellipse tool (L). Make a circle and use the previous shape to make a clipping mask over it. Drae the tail using the pen tool (P) Use the ellipse tool (L) to create the eyeballs. And the pupils. Make the head using the rounded rectangle tool Use a simple circle to make the cheek. And also to make his lips Draw his nose using the pencil tool (N). Use the previous tool to make the ears. Draw the sad eyebrowns using the pen tool (P), just make sure they loo like damn scared. Use a ellipse and sharpy shape to create the mouth. Use the pen tool (P) to trace the rest of the snout. The leg it's quite simple: Make it using the pen tool (P), then using the ellipse tool (L) make the fingers, use the selection tool (V) to adjust them. Then you're going to just redo this process three times again. Now let's start blending the shapes, first start by the feet, select all shapes and use the Unite option at pathfinder panel. I used the path eraser tool to erase the bottom of the leg and so give the impression of normal drawing dash. Ok, now unite all arm shapes. Unite the head and body shapes. And all the mouth circles and shapes. Remember the eyebrowns? Ok, let's duplicate both of them, select this copies and the eyeballs and use the Exclude option at the pathfinder panel, this will remove the eyebrown shape form the eyeballs, just don't forget to remove the rest of the shapes. Step 4 Let's add Courage main colors on the shapes we already have. Then let's start adding some fine details. Using the brush tool (B) to make the whiskers. Use the pen tool (P) to make the wrinkles. Also use it to make the teeth divisions. Add some grey shades on the ears and nose using the pencil tool (N) and the pen tol (P). I also added this shades using a similar process used on the legs. Step 5 Let's make anotehr new layer. I drew some drips and pools of blood on the floor, that's pretty basic you just need to draw some round shapes using the pencil tool (N). Then add some white reflexes and lower their opacity. I also added some shades and made a clipping mask on them. I went back on the shadows layer and added some behind those drips on the same direction as the demon shadow. Step 6 Ok, the tv it's pretty simple, first let's draw half of the body using the pen tool (P), also I drew the top of it. Add some perpective corners. Use the rounded rectangle tool to create the monitor. Duplicate, reflect and Unite it. Make the antenna using first a circle and them creating this sharpy shapes using the pen tool (P). Duplicate the monitor shape, then go to Effect > Grain. Let's turn this on real Tv, so use the same set up as the picture of the panel bellow. Add a shadow and a light on the antenna. Ok, now let's add some flat colors on it. But in order to look like a real Tv, it should have some knobs, it's pretty eays to create them, as you can figure out on the pics bellow. Also decided to add a speaker on it, doing the inverse process used on the knobs in order to give depth on it. Later just added a grid over it, just to look as old fashioned speakers. I decided to use a really classy font on the title inside the Tv, so I used this one, don't worry it's free and quite useful. And another sans serif font for the lettering, nothing special. Step 7 Let's go back to the shades layer and make some for the Tv, it's quite easy, just do on the same direction of the previous one, use the pen tool (P) for this task. Now that all the shadows are set, let' only verify If your layers are organized as they should be. Now we just need a main light source, so make a big rectangle that fits all the canvas, use the gradient tool (G) to posicionate it's focus on the lower right on the screen. Then go to the tranparency panel and use the blending mode called Overlay. Conclusion Download the Adobe Illustrator File Download the Adobe Illustrator file used for this tutorial
Beginner Tutorial: Create Dexter on illustrator
Hi everyone, I decided to insert some nostalgia on today's tutorial. Since I'm a guy born in the early 90s, I thought sharing how to draw Dexter would be really interesting and fun. If you've ever watched Cartoon Network you'll probably recognize this little fella at first sight. Let me repeat a simple nugget of information: It's a beginner tutorial, that's right, not too many difficult tricks on today's lesson, but if you want something more wicked, you should definitely check out some other illustrator tutorials on the site HERE, thanks. Step 1 So let's open Adobe Illustrator and make a blank canvas (command + N / ctrl + N), let's not stick with a specific size, use the one you feel more comfortable with. Here are the colors used on the character, you don't need to screengrab it, it's already in the downloadable file at the bottom of the Tut. So, let's begin by making its body. First make a rectangle using the rectangle tool (M). Go to the Brushes panel and choose the one called 5 pt. Oval, it's my favorite since it creates a smooth and thick outline, great for cartoon characters. Now let's make two spheres using the ellipse tool (L), this will be the head and ear. Make a huge one almost at the top of the rectangle, don't forget to add some beige and stroke on it.Let's get a bit familiar with pathfinder panel, but first let's make a cut rectangle. You can do it by using the rectangle tool (M) then adjusting one of the anchor points using the direct selection tool (A). Select both the big sphere and the shape then use the pathfinder option called Minus Front. Then let's repeat this technique in order to define the head and neck of him. This time we're going to use the pathfinder option called Unite. Do the same thing with the ear. Step 2 Let's draw the boots, it's best to use the pen tool (P) when trying to draw this one. Then just add some black fill on it. Let's duplicate it by selecting the boot and using the selection tool (V) + alt. Right click over it, then go to Transform > Reflect. Reflect the vertical Axis. Step 3 Lets add a button using the ellipse tool (L) and a line using the line segment tool (\) on his suit. Let's make his hair. Using the ellipse tool (L) make an ellipse, then using the direct selection tool (A), adjust each point like the the image below. Again using the same tool and make two ellipses. Use the pathfinder option called Unite to make them all one. Using the brush tool (B) you can make these details on the hair. Step 4 In order to make the glass, let's first make a sphere using the ellipse tool (L). Make a rectangle above it, select both, then use the pathfinder option called Minus Front, add a black fill on the shape. Duplicate it and use a blue fill, then using the ellipse tool (L), make a sphere inside of it. Duplicate and adjust the three paths using the selection tool (V). We're going to need to use the pen tool (P) again in order to make the mouth, but that's no big deal. Use the line segment tool (/) to make the teeth and the temples. Finally let's add a white fill on the boots then let's make a sphere on the bottom using the ellipse tool (L). Step 5 You know something, I really hate drawing hands and I bet you don't like it either so let's try to make this part easier. First make two ellipses using the ellipse tool (L) Make a bigger ellipse on the center. Using the polygon tool or the star tool, make a triangle. Use the pathfinder option called Unite to make it one path. Using the pen tool (P), make this open rectangle. And add a stroke on it. You're going to repeat nearly the same technique for the other arm, using the rectangle tool (M) make the arm. Make the triangle again and a sphere. Don't forget to add the stroke on it. This ellipse will be the toe, after creating it use the path eraser tool to cut only a part of it, later you're going to understand why. Make a rectangle between the toe and the hand, it's not a big deal. Using the ellipse tool (L), make the other fingers around the rectangle. Now create a sphere using the ellipse tool (L), then use the Unite option at the pathfinder panel to make the object. Add a bottleneck using the rounded rectangle tool. Using the pen tool (P) you can create the green liquid inside the bottle. Add some bubbles using the ellipse tool (L) and don't forget to add some simple reflexes on it later. Final Result Well, I hope everyone enjoyed trying this. I've tried to make things easier for you guys as you can see we pretty much used basic pre made shapes and avoided using the pen tool. However, even If you're "vector king" there's always some good tricks to learn on a beginner tutorial like this one. Download the Illustrator File Click here to download the Illustrator file used for this tutorial.
Geometric Illustrations by Guillaumit
Guillaumit is an illustrator, graphic designer and motion designer from France. His work combine geometric forms , rigid color scheme and and funny cartoons characters, trying to build an universe both ludic and meaningful. For more information about Guillaumit visit his Web site at http://guillaumit.tumblr.com/
Amazing Cartoon & Comics Characters by JPRart
Jeremy Roberts, aka JPRart at deviantART is an artist/colorist from Ontario, Canada who has a pretty impressive talent as you will be able to see here. From captain america to hellboy, spider man to wonder woman, batman to wolverine, he has lots of cool cartoon/comic characters in his galleries. And all of them are full of colors and style! I was browsing around DA yesterday when I bumped into his spider man (the first image from the list) and got stunned. So I decided to make this selection to show more of his work. I hope you enjoy the selection! And don't forget to check out his DA profile. Enjoy. :)
Reader Tutorial: Cartoon Character in Photoshop
I have been thinking of doing a cartoon version of one of my favorite characters, Agatha Christies’ Detective Hercule Poirot, always portrayed as a strong willed and serious man. Doing such an intellectual and grumpy looking character in a cartoon fashion sounded like a funny idea to me. So I got my pencil and drew and colored it entirely on Photoshop CS3. Hercule Poirot is a fictional Belgian detective created by Agatha Christie. Along with Miss Marple, Poirot is one of Christie's most famous and long-lived characters, appearing in 33 novels and 51 short stories that were published between 1920 and 1975 and set in the same era. - Wikipedia Step 1 First off, I drew him walking on the streets of London, I chose that city because of the mysterious atmosphere that it has and all the history. So I drew him looking for our generic psychopath, who was just around the corner. Step 2 Then I separated all of the colors. I was going to build from dark colors to bright, setting from the beginning what would be the light sources in the painting. That would be his Oil Lighter, the moon and another unseen source of light, to light up the killer. Step 3 I began spreading “paint” so I could begin to study the way light would fill up Poirot’s face and clothing. Pay attention that before heading for “full bright oil lamp yellow” I used some strong, saturating orange. It’s creates a neat skin effect. Began as well as shading up a little, creating darker, purple areas around his face. Step 4 Here I defined a little more of his facial lightning. Step 5 Here I lighted up his hand, according to his two light sources, including the Moon. For the light, notice that I used blue instead of orange. Behind his ear you can notice it better. Also I created his suspicious looking eyes. Step 6 Play more with the moonlight both on his head and hand. Step 7 Now I begin to play with the rest of his body, shading his clothing. Step 8 The idea here is to refine the lights and shadows, the contrast is really important to create depth. Step 9 Now I added some light, this is the moonlight over the composition. Step 10 Here I intensified the coloring of the inner shadows of his jacket. Step 11 Let's work on the hat, refine the form, taking care to give the tridimensional feeling of the light from the lamp and the shadows it creates. Step 12 Now let's play with the Killer. Let's start by doing the same thing I did with Poirot, imagining a second oil lamp outside my frame, illuminating him. Here you can notice the layer of Orange I used before the yellow, in his hand. Also I did a quick sketch of how his shadow on the wall should look like. Step 13 Let's define his face better, I added his eyes and began building his coat lightning. Step 14 Here the rest of him is completely done, and now I can begin to turn my attention to the city. Step 15 I used a stone texture I found online and apply to the main wall. The stone bricks that make the wall’s limit were done by changing the type and intensity of my brush. I also lightened up the detail from the street sign. Step 16 Here I added the Street Name. Just for the lulz. Step 17 Here is an important part of any kind of artistic creation. Trying. Trying and failing are great ways of learning. I started trying to paint the floor. First I lightened it, knowing that the main light source would be the Lamp. Then I started trying to draw the stones in the ground. When I saw it was going to take an awful lot of time that wouldn’t pay off, as the floor was not looking the way I wanted, I attempted to put on a texture. I decided to leave it there and work on other parts for now, as the painting of the rest of the city. I liked that chimney very much. Step 18 After looking at Googled pictures of the Big Ben for a long time, and trying to place it in the city, I decided that it would look more realistic if it were smaller, appearing to be farther from our main characters, due to the moonlight. Step 19 I Added some big part of the rest of the city. Step 20 More detailing in the city. Step 21 Here, I created a little stars brush on Photoshop and used it to star up the sky. Also did some clouds, and the moon ring. Step 22 Here I finally defined the final shadows of the characters, as well as a better distorted and suited stone floor. Step 23 Here I did my best to light up the killer’s hair and mustache. I did this hole thing without a tablet pen, witch makes it a little difficult to draw details like hair. Finished Painting And finally here I got to detail a little bit of the Moon, and that’s it for Monsieur Poirot and his knife wielding killer. Hope you enjoyed this simple tutorial, and I hope it really can help you! About the Author Silas Chosen is an illustrator from São Paulo, Brazil. His favorite style of artworks is those with pencil and Photoshop. You can see more of his works at his DeviantArt page or follow his blog (only in portuguese) at http://silaschosen.blogspot.com/
Fun Cartoon Illustrations by Juan Molinet
Juan is an illustrator, graphic designer, and art director based in Buenos Aires, Argentina. I keep coming across his work everywhere. First I stumbled across an illustration of his on ffffound a week or two ago, then last night I stumbled across his portfolio on behance. I am in love with his style! I gave in and decided to share some of his fun pieces with you today! Juan's illustrations are colorful and his use of texture is really nice. Most of all though, I think the one thing that pleases me the most about his work is its playfulness. Each little monster that he creates is as cute and cuddly as the next! Don't forget to give his flickr and behance a peek to see what else he's getting up to! And let me know what you think via twitter or facebook :)
The Incredible Evolution of Pixar
No one makes animated movies quite like Pixar. With 23 years, 10 films, and 22 Academy Awards under their belt, the incredible guys over at Pixar Animation Studios keep getting better and better with each passing year. Last week we received a suggestion from one of our readers about doing a post on Up, their latest masterpiece. I thought this was an excellent idea, but I also think that their other films deserve some recognition too. So here I bring you a collection of all the Pixar feature films to date plus some of their shorts at the end. My all-time favorite Pixar short is Presto!, so definitely be sure to check that one out ;) Actually, now that I come to think of it, Toy Story 2 was the first film I ever saw in theatres (to my memory). I was seven :) Have an idea for the next post? Send me your suggestions via facebook or twitter! Feature Films Of course everybody remembers the classics like Toy Story. I should probably admit that I wasn't too crazy for The Incredibles and Cars though. But after Ratatouille they just get better and better. Toy Story, 1995 A Bug's Life, 1998 Toy Story 2, 1999 Monsters, Inc., 2001 Finding Nemo, 2003 The Incredibles, 2004 Cars, 2006 Ratatouille, 2007 WALL-E, 2008 (came out on my birthday :D) Up, 2009 Short Films It's seriously amazing to see how much these guys have evolved and how much emotion they're able to portray in a few short minutes of little to no dialogue. Enjoy! The Adventures of André and Wally B., 1984 Tin Toy, 1988 For the Birds, 2000 Boundin', 2003 One Man Band, 2005 Lifted, 2006 Presto, 2008 Partly Cloudy, 2009 (preview)
20 Great Digital Drawings by Patrick Brown
The Australian artist Patrick Brown really impressed me with his drawing skills. If you play Gran theft Auto you will be amazed how similar his style is to the graphics on the game, and how he also adapts that in other drawings. Awesome work, great inspiration, Enjoy! Make sure you visit patrickbrown.deviantart.com for more.