Finito!

wow about 10 hours of coloring, 3 hours of drawing, and 5 hours of silkscreening.... YEESH.

color!

im sarting to color them in. HEEB.

DEEERP

So using the silkscreen as a graphic element was what I originally intended- the trick is to determine what should go around it. Originally I was going to have one big image- which I will probably still do- but I had a comic laying near one of the silkscreen and I thought it looked cool- so I figured I'd try just doing a mini-comic surrounding the piece.

the first 10.

one thing to know. Silk Screening is Messy. like so nasty.
Whaddya all think? The alignment is off but it is next to impossible to do it with the method I was using. If I choose to do a reprint of this I would def. like to see each of the respective colors on a different screen- rather than on ONE big one, and having to tape-out the other 3 every time. it is amazing how different each one is.

UGH it was arduous but the results r awesome. They look really rich and vibrant in person. Maybe you will be the first to own one. HEEB.

Silkscreenin snitches!

here is a list of the pocess i go through to make my shiznit.
step 1. come up with a cool drawing.






step 2:

scan this drawing and color it in.



for this drawing I am going for a retro look- and so I changed this drawing into a bessier-dot style one (1950s ish).



I then seperate the four channels, each onto its own layer. Blue, Yellow, Red and Black. and print them on transparencies.








I then burn these into a photo-emulsion coated light-sensitive screen.n and spray out the areas (black) that didnt get exposed (and thereby arent stuck to the screen)



And WALAH a four-color screen. The next step I will apply the respective ink to the respective layer and go from there.

So i needed to get a test-page out of the way. basicaly i deceided on the paper-type and page size... although I might try a hot-press watercolor paper instead of the cold-press. The hot-press type has less bump- but this may result in less absorbancy of the watercolor... not sure, as I've never used it. It sells about 4$ a sheet- but thats for a pretty good sized one, and so if I cut them down to the size i'm using (12x18) then i can prolly get 4 out of each sheet. Not bad- cause it's gonna be Arches- top quality paper.

werd ya'll.

im also working on some fine art- stuff and deciding what should go in a show and some venues to pick. I also need to frame these darn things... $$$$$$$$$$$$$$.-which i don't have. so I might just keep building my own. for now tho- here is the test page.

heeb

Hoping to get some cool stuff done this weekend- KERSNOOF. im gonna get this body of work all in a show fairly soon.

Heeba Kaneeba

So here is another sort of in that cartoony comic style- but a realistic rendering. not sure if thatsa genre. but you be the judge. it was a quick turnaround cause I can kinda crank out this style nowadays.

KERSCHNEIF!

SILKSCREEN SNITCHES

One thing is for sure- this is a learning process. here is the process in a jist:

1: buy 150$ worth of supplies.
2: make a 2d design (has to be mono-tone.
3. scan the drawing and reverse it. (i forgot to reverse).
4. print the drawing onto transparencies.
5. take that transparency, and place it on top of a photo-emulsion drenched, dried silkscreen.
6. expose the screen-thereby leaving the blackened areas still kinda gooey, and the light-exposed crusty dry.
7. waterblast out the gooey stuff.
8. put a piece of paper down, put the silscreen on top. dump some ink in.
9. use a squeegee to drag ink across the screen- thereby leaving ink where the holes are.
10. examine your image and find out your mesh is wrong, the image is bad and the ink is too viscous.
11. repeat after you get frustrated, then cool down and buy another 20$ screen and try new settings.

holy shit

this looks dope when I finished it. man. What was weird about this one is that it sort of had a happy effect when I took off the tape and looked at it more as an entire piece. The cool part is that it sort of stands on its own-without the widescreen... which gets me wondering if I might have to do a bunch more of these in a similar style- with a different implied edge.

either way I really love the thing.

thats a good feeling.

GAS MASK!

you can see my process here (I always seem to forget to take a picture before I start the ink... but you can see the blue lines I use.). I wanted to make a compostion using a lot of white space and assymetry with some bold black hues- and later I think I am going to add some neat mid-tones and then some light wash/gradients ot create a cool edgy piece. I like the form and connotation of gas masks-simple as that.

concept work

so I am developing a couple animals for this comic. it is kind of interesting going about these. the initial sketches usually begins from some inspiration from sometimes the most random of places. Be it an interesting shape, a stain on my clothes or a cloud in the sky. Theres no regular route to find inspiration.

So then from their you sort of devellop it with an archetype in mind and see how it comes out.