One of the great things that I like about digital art is the ability for programs (I use Photoshop) to let different layers of art interact. For example, I can have a painting of a character on one layer, with all the shadowing, anatomy, and so on, and on a different layer I can have a texture. By using different abilities in Photoshop (namely Layer Blending Modes), I can use the texture layer to give the character a different sense.
Now, that can mean a lot of things. The character might be dirty, or bloody, or dripping with water.… Read the rest
I decided that I should take a break from inking monsters, and try something that has less texture to it. Texture is fun with characters, but I want to challenge myself by working with images that don’t necessarily have a lot of texture in the important areas.
Case in point, this new ink that I’ve now completed. It’s based on Peter Lorre’s character from the film M, and, though there is certainly a lot of texture in the piece, it’s his face that doesn’t have a lot of it.
Inking his face, I had to use very light lines, spaced fairly far apart (relatively).… Read the rest
Some time ago, I discussed the genesis of the cover art that I created for Maelstrom’s edition of author Brian Keene’s A Gathering of Crows (check it out here!). For that article, I talked about the content of the art, what it meant for the book, and in general the idea behind what’s going on in the image.
But I didn’t really talk about the design part of it.
Now, I know what you might say. Russ, you’re an artist, not a designer. But the truth is I’ve been a graphic designer for just as long as I’ve been an artist.… Read the rest