Commission for the twins birthday.
Commission for Tegan.
Tegan's a fan of Japan, Dragon Ball Z and Card Captor Sakura, so it was cool to get a few references in there with her portrait.
I think this must be one of the few times I draw a seated pose, and I like the colours with this one. Looking back, my only regret is that the shoes should be closed-toe, but like with every picture, you do what you think is right at the time ^_^'
Commission for Jessica. Plus initial sketch.She needed to look like she meant business and went with a foreshortend perspective with this. I don't know what the dinosaur bone is about? I'm sure it has some significance.
Is the style manga? I don't know. I'm not a caricaturist by trade so adapting the art I do to look like someone specific is always a challenge. Is it possible to convert real people's features into a simplified and stylized manga form (i.e. Pokemon, Dragonball) while retaining a likeness?
People have always been impressed with my digital colouring and I've wanted to create a book on how I colour my character art since my last year at uni back in 2007. Finally in 2013 I asked the Publisher of my previous titles if they'd be willing to work on such a project. It got the go ahead, but the idea was slightly altered to make it work. I was so keen to see it out there that I was happy to compromise here and there by dropping a section or two and adding in something else. I had originally wanted to create the page layouts also, but this ended up being assigned to an in-house designer.
The book was finished and Published August 2014 🙂
It took a while to complete- the deadline on it was around 4 months to submit both the text and images. I then needed a number of weeks some time later to revise the page layouts and re-check over the edited text.
Initial planning took a few weeks. I had already created a 30 page BLAD (book layout and design) years ago, which helped speed the initial stages up and helped when pitching the idea.
Fortunately, I also already had several finished works to contribute to the book, which would have otherwise taken a good 20 hours a piece.
I worked my own hours- some days spending 15 hours solidly working, others just 4 or 5, but with 160 pages to fill up with well written, fresh content, it was never going to be a breeze. I guess all in, I must have spent a good 500 hours on it.
I wanted the book to be one of the best things I'd ever produced, so was willing to go above and beyond to get it up to scratch. Unlike my previous book TAODM, Digital Manga needed about 55% more written content and 50% more image content. I also didn't want to use a writing assistant or several image contributions from collaborators this time around so that the work would be 99% my own.
I also took it upon myself to record several of the book's character tutorials, convert them into time lapse videos, then upload them to a web page I'd created along with downloadable content.
It may not be everyone's cup of tea or it may not be the best instructional book in the world, but I'm really proud of the end result. I've checked out hundreds of online art tutorials, forums and videos over the last decade and know the book is covering all the necessary bases and more whilst drawing upon everything I've learned about Photoshop art creation since I started using it back in 2000.
I'm sure a lot of people will just buy it for the pretty pictures but I really hope people out there get the chance to read it and make use of some of the content I provided. I really want people to learn something and for the book to help with their digital art endeavours.
The book isn't as perfect as I'd like it to be. Frustratingly there were several errors left in the book. These could have been resolved before it went to print had I been given the opportunity to check out a final proof. I imagine the publishing team were up against deadlines or problems of their own and not as invested into the project, so were not as willing to get it perfect. I will do all that I can to make sure many of these get rectified should the book get reprinted.
I needed to spend a lot of time adjusting or advising upon the page layouts sent to me. There were an unacceptable amount of inconsistencies and some horrendous design choices- use of garish, clashing colours, tacky background images. I tried to think how the book would have ended up had I not insisted on overseeing the layout stages.
I don't yet know if this will be a problem or not, but I imagine sales won't reach the same levels as my previous titles. While the book is, in my opinion, totally awesome and a huge step up from the last ones, I realize Photoshop isn't as accessible to manga fans as a pencil and paper. It's not something for complete novices either and at then end of the day, the book teaches how I work, which might not be to everyone's taste.
Dealing with Publishers
Communication was done completely over email. It was great to have a record of everything sent and received and suited my late working hours.
Although there is this detachment whereby I don't know what is going on their end. Are they also frantically trying to get everything done and staying up until the early hours to do so. Or are they not taking the project as seriously, slapping together a half-arsed job and calling it a day? It can be easy to fear the worst if there is a lack of face to face communication or if there's a problem and I can't talk to the designer, the sales team, the accountant etc. directly and instead everything is going through the editor.
Another tutorial book perhaps? I've been asked to work on something else which has the same kinda of visual impact as Digital Manga, but nothing has been confirmed yet. I've already given my all to this book, so it's hard to know how I can top it until I can start to build up a new portfolio and back catalogue of fresh, full coloured artwork to use in a new title. Until then, I'm looking forward to producing some more artwork and moving onto the next stage of my career 🙂
A C+P from chrisoatley.com :
What Do Bad Clients Look Like?
Many years ago, I was offered what sounded like a nice freelance gig.
An oil painting. A huge portrait of a couple that would be given to them as a gift.
The painting would have taken me about two weeks.
I quoted my hourly rate which was around $35/hr at the time.
2 weeks (80 hours) x $35/hr = $2800
If you ask me, for a huge double-portrait in fracking oil paint, 28-hundy is a legitimate steal.
But the man offering the job did not agree. In fact, he was shocked and offended. He had a much lower figure in mind…
He the offered me $25 for the portrait.
I asked him how much he got paid for his job and if it was higher than $12.50 a week.
…and that’s the end of that story.
Granted, the “$25 Portrait” example, although true, is ridiculous. No sane artist would accept that guy’s offer.
My point here is that bad clients usually look bad right from the beginning.
It’s desperation that blinds us.
It is our desperation that gives power to the bad clients.
I'd say this example represents 90+% of the job offers I've had while freelancing. Perhaps not to this extent, but similar. With the huge pool of internet artists for both companies and private individuals to choose from these days, generating the kinda money an artist deserves is no easy task.
I drew the cyberpunk ninja Bengosha a long time ago. He was originally created for a character design contest and then used as a character example in the book 'The Art of Drawing Manga'. This year I started working on a new book about digital techniques due for release in 2014 and decided to include a Bengosha revamp.
I still like a few aspects of the original, even if it is a very old piece, although I hope anyone else agrees that the new art is an improvement! I've never been an amazing artist and probably never will, but I still like to think I'm pretty good at busting out a cool picture here and there when I put in a lot of time and effort 🙂
I've worked as a manga inspired/influenced/style artist for years. Although a large percentage of people I meet don't really know what manga is! Let alone understanding the differences between it an anime. Older relatives, or those completely removed from popular culture often need educating. For most people who are unfamiliar, I'll usually just say I draw "Japanese style comics and cartoons". However, I don't think the answer to "What is manga?" or "What is anime?" is a simple 'one description fits all scenarios' sentence. With a little help from Wikipedia I thought I'd try my best at summing it up these definitions.
What is the difference between Anime and Manga?
Anime is a term to describe animation created in Japan. In the west, the term is “anime” is defined as a style and genre of animation typically originating in Japan, and can often feature detailed, colourful imagery, unique, in-depth characters and action orientated plot lines either set in the past, present, future or often within a fantasy setting. The meaning of the term ‘anime’ can sometimes vary depending on the context it’s used in.
Manga is a term to describe comics created in Japan, or produced by Japanese Manga Ka (artists), primarily for a Japanese audience. The style was developed in Japan though the mid to late 19th century with heavy influenced from western and American comics combined with the long and complex history of Japanese art and wood-block prints. In the western world, the term is often defined as a style of drawing originating in Japan and many western artists have adopted this style and refer to themselves as Manga artists.
So we could summarize:
Anime = animation in a typical Japanese cartoon style. Often in full Colour.
Manga = comics in a typical Japanese cartoon style. Often in black & white and with grey tones.
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