Clip Studio for days one to seven

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Recently Manga studio pro changed their name to Clip Studio Paint, and so I was inclined to update a previous strip for Days of Creation, days one to seven. For me it’s opportunity to further work my drawing drawing skills, as well as provide upfront comic briefs that directly relate to my graphic novel. I feel that I have the primary characters developed so that they would work within the world I imagined. 

The comic application, now named Clip Studio Paint, continues to add details that make the process of creating graphics novels/comics more efficient. Along with a bevy of unique fonts, it does provide for a one stop environment to create.

The story and events in the graphic novel revolves around the primary characters, and this page briefly introduces them and sets the stage for the interplay of personalities.

Wendiceratops – 3D model

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This is a 3D model I have been working on for a while. The ceraptops family is vast and varied, and their physical attributes  and head bone structures are strikingly different. Once assembled in 3D with a level of accuracy to the base bones, the animals appears smaller and more nimble that the typical ceratop.  Fossil hunter, Wendy Slobodan, discovered the bones for this species in 2010 in southern Alberta. The Wendiceratops lived 79 million years ago, and is one of the oldest examples of the Triceratops family.

Full given name for this species: Wendiceratops pinhornensis

Next phase for me is to better smooth out the muscle structure, and then texture and paint.

Elizabeth to fit the intended audience

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While working through variations of Elizabeth, I struggled somewhat with her representation within the book, because initially the previous variations just didn’t feel quite right. I wanted her to fit with the other characters in style, and not appear out of place. For the cover a more mature style is fine, but I wanted to have a character that I can extend more expression. AND this is it.

Press on – State of Mind Cover

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The unofficial cover for the first book “State of Mind” of the Dark Matters Chronicles. Whether I  may some day get the rest of the book complete, it’s unknown … but it’s in progress. Whether I slide it in between the lines, or find a way to go full tilt to completion is a matter having relatable time, when usually, I have to concern myself with billable work that pays bills. It’s circumstance that defines all.

Medical Illustration and Back Again

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This is an Illustration I did for the College of Dental Hygienists many many years ago, and this is the one instance that drew me back into doing more of this type of work. For some time previous to this I transitioned into doing more management and design work, and really never reflected on my time and how it was spent. When I originally came into the industry, I was a designer/Illustrator, and then the business started expanding into interactive media.

But after that time, I committed myself to doing more illustration type work, and improving my illustration skills so I could evolve an individual style and provide a bit of diversity to what I do.

Bobasatrania (Bobzilla)

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The murky process of recreating a fish from fossils has it’s challenges. This fish, in process of being modeled for a presentation at the Bow Valley Habitat Station, existed some 240 million years ago off the coast of Pangaea. Pangaea being a large super-continent that was composed of all the existing land masses throughout the world that eventually drifted apart. So overall, fossils that are found throughout the world tend to exhibit similar characteristics. You can say, all the fossils come from the same pool of fish.

My process of building a model usually begins with much research, where I gather a mass of examples from the internet so that I have enough variation of fossils to make assessments of overall shape and form of the fish. As well, I collected images of currently existing species of fish that are of similar shape or form. What is unique to the Triassic fish is the heavy scale and bone structure. It was tough times for being a fish, so they needed a tougher outer shell.

Everything begins with sketches, drawing out a base template that will be loaded into the 3D application as a guide for modeling the fish. As well, through the drawing process, I become familiar with the various parts of the fish, which allows me to assess shape, form and function. Certain details can be difficult to determine because overall, a dead fish doesn’t directly extrapolate out to a live fish. Fins tend to shrivel and get skewed through the process of decomposition and fossilization.

For modeling, I use lightwave because it’s light, has multiple layers that allows be to store backup elements, and I’m extensively familiar with it’s tools. The process of modeling is organic, as polygons slowly get extended over the shape of the form while being cognitive of how the polygons will react after rigging and animation. The quad polygons have to flow along bends where the body or fins may flex. I build the model in base grey before bringing it into Bodypaint for colour.

In on everything

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As a creative, I tend to migrate more towards diversity than specialization. Working where demand neccesitates opportunity to earn a living, and then filling in the holes with personal projects. Past month included website development, some flash programming, print design, illustration and now wrapping up the year modelling a 3D triassic fish.

For much of the month, I have been focusing on illustrating images for a multi-path story on first responders for the Chaos an Courage television series. It’s moving its way to completion, and at this point … time is of the essence. So working quickly, and loosely … I had to turn out a large series of illustrations that conveyed the variability of the story, with focus on the primary character, Adele.

In addition to the illustrations, I worked with the producer and another writer to block out and fill in aspects of the story to provide plausible outcomes. For these illustrations, I drafted out the base images on paper, scanned them in and competed the line and colour in Painter. For illustration work, Painter is definitely becoming my most favourite go to application.

Work in Progress

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I recently did an update to the site and like everything, it’s a work in progress that gets slid into everything else I do. I have further enhancements I have yet to incorporate, both new content and site structural builds will take place simultaneously.

Above is a new link that leads to the place where I will post ongoing Dark Matters Chronicles: Days of Creation comics. The intent is that it provides me the opportunity to explore style and approach in story, illustration, composition, format and colour. With anything, it takes time and effort to bring an idea closer to where it needs to be. This is my proving ground. I can explore the personalities that inhabit my world, and provide greater depth to who they are, and where I wish to take them. Where all this goes, I don’t have the faintest idea. I have a trajectory that, to my better understanding, reflects current industry trends, and I can just be creative and explore boundaries.

Whether anyone reads these comics is unknown to me, because all I get is spam bot garbage comments. Geez … ain’t technology grand. So if you happen to trip over something that stirs you, leave a comment.

Scratchboard Illustration a solution to sensibility

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The technique of scratchboard goes way back to the initial era of printing. Traditionally, it’s a process of removing or marking a wood or metal surface. Then rolling ink on that surface and pressing it onto paper through mechanical or physical means. More recently, scratchboard material was used, which was either a coated ply-board, or a heavy laminated sheet of card. The working surface was then coated with black indigo ink, and special metal tools were used to expose the white underneath. With the advent of digital media, this process amoungst illustrators is either rare or obsolete, BUT with a tablet and a good graphic package, it’s easy to replicate.

Building images using the reveal approach provides a different appeal which is great for content that yearns to have a traditional sensibility. For this print resource, I employed that approach. Final result conveyed the art of growing and cooking as a naturally co-existing theme.

Illustrations were first developed for the internal cards, then repurposed for use on the cover.

Make it Vector

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Much of the illustration work I do is not autonomous, but part of a larger project. By trade, I’m a designer an illustrator, and that allows me to recreate assets that can be integrated into the layout of a resource which results in a consistent theme that is carried throughout. With illustrator, I can build very scalable vector based illustrations that can be adapted and used in flash, in print and imported into after effects and integrated into motion graphic sequences. Especially, with motion graphics, vectors work great because they have a transparent base and scale infinitely.

This series of vehicles were created for an interactive flash project on urbanization, and transferred over and re-utilized for other purposes.

And for Alberta Milk, a cover using illustration done exclusively in Adobe Illustrator, I was able to adapt the elements from the cover and reuse them throughout the layout of the print resource.

Match

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