Thursday, July 31, 2014

Meet this Illustrator: Allen Williams

Classical artists are always great references, but we must also look at the artists of our time, what they do, how they work, the new ideias they create, the illustration is not a static thing, it isn´t unchangeble, new techniques emerge, new concepts are invented. So it is worth to pay attention to everything. 

This artist, Allen Williams today work with fantasy. As always, the question of the light is something flashy. 

I separated some drawings and paintings because every step of the process is always important to see. 

To see more of his work visit

Wednesday, July 30, 2014

A monster Calls

I paint this inspired in the most intense scene from the book A Monster Calls.

Tuesday, July 29, 2014

Thought of the day

Monday, July 28, 2014

Meet this Illustrator: Mead Schaeffer

I'm a big fan of the golden age of American illustration, these artists who kept the integrity of the painting and who applied various design techniques - many created by themselves - stylizing lights, maximizing contrasts, cutting traces and leaving much to the interpretation of those are looking the image. They are artists of extreme elegance and amazing skill. 

For you who want to know more artists from the Norman Rockwell´s generation, Mead Schaeffer is one of the great illustrators to study. 

Pay particular attention to the illustration of The Count of Monte Cristo (the last on) and look how his clothes blend with shadow.

Monster Mondays

Friday, July 25, 2014

São Paulo Inc.

By an invitation from Lielson, writer and my friend from UHQ, I did a comic for a series about traffic that he created called São Paulo S / A (São Paulo Inc. São Paulo is one of the major cities from Brazil, famous for its traffic). 

When he sent me the script I have a little headache because, first, it has lots of cars and, second, I wanted to do something painted, but it was too complex for my level of painting. 

So, since it was a thing with a certain level of freedom, I decided to do something that would be a completely new experience for me and somethig I could learn from the process, so I did the comic digitaly. 

Obviously since I've never done something like that, it was a little hard in the begining. I did not use the "usual" style of digital colorization, first because I don´t know it and secondly because I wanted to do something that looks like a paint. 

For those who are curious, the process was the following: I got the Lielson´s script and trace in a layout all the frames that I would do. To facilitate the demarcation I already wrote what would do in each frame so I do not have to go back all the time in the script. 

I made a base for the background, this middle gray sky from São Paulo on sunny days, and then I start working with layers in Photoshop. One layer had the basic layout, other had the outline and the last one had the painting itself. 

I painted all the frames following the same process I use with gouache, darkening with transparent stains and opening light with opaque stains. 

The result you can see here on Flying Cow through this link. (There is no text in the story, only the title "As Chamas da Purificação" which means  "The Flames of Purification".

Thought of the day