Here’s a little day job work. This is a cover for an event invitation.
Here’s a little day job work. This is a cover for an event invitation.
Honestly. Writing, making art, posting on social media all seem like impotent and feckless responses to tragedy. I’m even coming to despise the word “tragedy” if only because it’s starting to lose it’s meaning with overuse.
Others are better at memorializing, analyzing and eulogizing. All I know how to do is make a few pieces of useless art, write a few mediocre poems. I’m not a cultural spokesperson. No one is entitled to my opinion. I am no one and I have nothing important to say. I am throwing handfuls of wind into a hurricane.
But here’s my piece anyway. It’s what I thought of to say after Ferguson and again after Orlando and then these latest episodes in Baton Rouge and Minnesota. For some reason after all those events I’ve felt the need to put my race in perspective, for me—something I rarely reflect on—and remind myself and my fellow white American males that we can’t underestimate how much dumb genetic luck factors into every good thing we take for granted in our lives. That seems like start. The very, very least I can do.
This is an edited poster. It exists on this site months back in its original form, but I felt the need to edit it a bit, make it more personal this time. I used my likeness in this reprised version. It was some guy from a vintage photo before. Not that I’m not somewhat vintage myself.
Like a lot of us, I’m upset to the point of being physically ill about the state of the country and the world right now. But, locally, everything is fine. My town, my community, my neighborhood are all humming along like nothing is different. So the pain is abstract, psychic and so it’s easy to just drink my coffee, pay my taxes, ride my Vespa to the gym and keep the chaos, stupidity, paranoia, even the politics at arms length. Maybe drop in to write a letter, sign a petition, “like” a Facebook post, but largely stay in the bubble that white suburbia affords. I’m not sure what else to do, but try out a few thought experiments, try to understand, listen a lot, give form to feelings when compelled. This, and some poems I’ve written are the products of that restless energy.
Going through some past work, I came across a poster I designed a few years back for a family member and a brilliant playwright named David Wally. The subject matter of the poster just seemed to wrap up the current state of political affairs in the country so I offer it here.
A visitor politely pointed out to me that a piece of content in my “DIY Kombucha” infographic was incorrect. And technically, he’s right. And being the stickler for geographical accuracy and REALLY wanting NOT to be one of those Americans who can’t point to any of the countries we’re currently at war with, let alone anywhere else on the globe besides Hawaii and Mexico, I’m re-posting the infographic along with this correction: Chernobyl is NOT in Russia, in fact it’s in Ukraine. Even though during the time period (Soviet Era) in which I referred to Chernobyl, all of the West thought of the USSR collectively as “Russia”, Russia is not Ukraine. And that’s all I’ll say about that can of worms. (See section called “Fun Facts”).
This quote came to me via one of my comedic heroes, Louis C.K., who cites as a source of inspiration in his own early life.
It’s apparently a snippet of dialog from an old Spencer Tracy movie in which Tracy was admonishing a young, beautiful socialite who was down on her luck and feeling sorry for herself.
I offer it here because it’s a reminder that an effective antidote for depression can often be a shift of focus away from our own interior struggles and toward others. Or to just be of use in the world, in some way, big or small, every day.
We have a lemon tree in our front yard that produces all year around, which is great and we encourage our neighbors to partake of said fruit, but occasionally, we’ve noticed some said neighbors get a little too enthusiastic in their harvesting practices. Thus, this sign, made from an unused cedar grilling plank.
Stuff you’ll need if you want to try the techniques in this tutorial:
(Sorry to any legacy Adobe application users. This tutorial relies on features only found of the Creative Cloud Libraries.)
It’s now possible to go from sketchbook to finished artwork in a few clicks.
Graphic designers have been turning raster images into vectors using Illustrator and the Trace Image feature for a long time but Adobe Shape, albeit a less precise way to accomplish this, gives us a much more spontaneous way to vectorize 2D and 3D stuff in real time, so for those of us who are way into instant gratification, this couldn’t be more up our alley(s). Case in point…I was watching some Swedish murder mystery on Netflix the other night and had my iPad open to Shape and decided to try vectorizing a few scenes that had relatively little movement. This is what I got:
The top image is of a guy swimming in a lake. The other just two guys talking. I spent literally no time on these but as an example of how to capture abstract shapes from literally anything you can photograph. If you can see it, you can path it!
This next image is a Shape rendering of a still life photo that already existed in my Photos library.
First, I created a pen shape above to contain the title lettering. I started in Illustrator by manually creating a vector shape, then brought that shape into Photoshop, then cut and pasted the layer into Corel Painter. I know all that sounds complicated but I wanted the pen shape to have a textured background and by selecting the black shape in Painter with Auto Select, I could then hide the layer and paint within the selection on a new layer with a pastel brush. I then saved the Painter file as a .psd and opened it back up in Photoshop.
Then some serious fun…
I printed out the pen shape and used it behind a piece of tracing vellum so I knew where to execute my pencil lettering then used a #2 Ticonderoga to draw the letters and didn’t worry too much about the minute details. Once I had it the way I wanted it compositionally, I used my iPad Mini and Adobe Shape to capture the vectorized version of the lettering.
It’s hard to see in the photo but Shape is zeroing in on the dark areas of the design and displaying those areas in green in the iPad display. You can adjust the level of sensitivity to refine the detail and it also allows you to capture a reversed image. Press the camera-style “shutter release” button and it auto-magically creates a vector file which is then saved to a designated Creative Cloud Library.
Creative Cloud Libraries could be the coolest thing Adobe has come up with in years—if you routinely use more than one application for a project (which I do lots of), you can access artwork you’ve saved from various projects, text, color swatches, images, stock photos and just drag and drop them into most CC applications. So to create the title illustration above, I opened a new Illustrator file, dragged my lettering vector artwork onto the art board to do a little vector path clean up, although I could have just as easily dragged the same file into Photoshop (the same CC Libraries appear in almost every Adobe app) and used masks and brushes to get rid of unwanted bits and pieces. It all depends on what kind of edits you want to make.
Starting with the same .psd file I opened up from Painter, I added a color layer for a background and dropped my lettering right on top of the pen layer I created in Illustrator.
I intentionally used a setting in Shape that would pick up a lot of the artifacts created by the wrinkly tracing paper and side lighting, which added some “schmutz” around the letters. I edited out 80% of it but left a little in for character.
The background needed some interest so I used Shape again, set up a “scene” and photographed it in order to create some background interest.
I used this layer right over the background color layer, filled it with color and reduced the opacity to help it recede into the background.
Shape also works on pencil/ink line work illustrations. Left is the pencil sketch nearly all inked in, right is the Adobe Shape vector version.
I played with multiple, layered copies and blending modes in Illustrator to give it a slightly offset color separation look and feel. Here’s one option:
Some extremely famous and talented calligraphers and letterers use a version of this technique for getting their work from sketch to digital canvas. Since my work is usually much less precise and more sketchy and imprecise, this technique suits my style perfectly, and workflow-wise is much more efficient than scanning and using image trace tools. Photographing 2D line work won’t pick up the fine detail that a 600 dpi scan will, but that’s okay for some projects.
So no, I’m not on the Adobe payroll but I do like to call out a good product when I run across it.
While my first reaction to this tool was definitely “kid in a candy store”, I probably won’t use it for every project. But used in conjunction with CC Libraries, it’s definitely now a permanent resident of my go-to tool box.
I read this quote in a recent article by scientist/philosopher Nancy Ellen Abrams on the NPR website and let out a “bwaaa-hah” that sent my cat into the next room. Love the pull-no-punches ideas from this author and this quote from her is both inspiring and a little sobering.
And because I can’t help from spilling my guts about new hand-lettering techniques, here’s the deal with this one:
I sketched this in pencil first, then inked it in with a .5mm Micron drawing pen, then erased the pencil. Then came the magic part. I opened an app called Adobe Shape on my iPad Mini and without even so much as moving from my desk, created a vector image of the sketch, which then was automagically uploaded to my Adobe Creative Cloud library, which then I accessed from the Photoshop CC Library panel. So cool. You can also store color swatches, graphic assets, styles and all sorts of other stuff in the Library and access them from Photoshop, Illustrator or InDesign. And the experimentation with Shape has only begun. The other night I was watching TV and tried photographing a few images of the screen with Shape. Suffice to say if you pick your moments…
The vector image from Shape created some odd interpretations in certain places so I created a layer mask over the whole text layer after sliding the artwork from the Library to an 8.5×11, 300 dpi background file I created in Photoshop. The mask allowed me to edit the layer without making permanent changes.
Then, to get some of the pastel effects, I placed the layered .psd into a Corel Painter file and with the text artwork layer selected, chose Select > Auto Select, which gave me a selection of the artwork. I hid the text layer, created a new one and started working on the text with a pastel brush. The backgrounds, counter fills, were also done with a pastel brush on separate layers. I saved the Painter file as .psd and opened it in Photoshop to generate the web images, etc.
The Shape of things to come
All this took about an hour. Of course to replicate this workflow exactly requires having a Creative Cloud account with Adobe, which I do for my day job anyway. But even without the instant gratification which the Adobe CC Library makes possible, scanning your inked artwork and “vectorizing” it makes for some intriguing results. There are services like Vector Magic that will do an online scan on a per piece basis, if you’re curious. They also sell a desktop version of their app but it’s crazy expensive. Anyway, these tools (Shape + Photoshop + Painter) really work nicely together with my particular lettering style which is more free form and primitive. But I know serious big time letterers like Jessica Hische work in a similar style—sketch, ink, photograph, vectorize, refine. In her case, refine refine refine refine. Not so much with me.
I’ve been a serious Kombucha drinker for some years now and started making my own in 2013, partly to save money as store bought Kombucha runs about $3-4$ per 12 oz. bottle, as opposed to around $.50/gallon to make it yourself, but also because it’s just big nerdy fun to make a bunch of tea, stick a gelatinous frisbee thing in it and end up with some weird, fizzy lifting drink that Genghis Khan drank and that might have alien origins.
So because I love translating stuff I’m excited about into fun and practical infographics for my Foolish Fire readers, I began executing the one below so anyone interested in how to make this wonderful elixir of life would not just have another cute piece of hand-executed artwork but an honest to goodness at-a-glance reference, kinda like the Egg Guide and Fruit Sticker infographic. But then…
…the project got away from me. I really thought “6 steps” would end up being a manageable size for an infographic, after all infographics are typically long, but I’m afraid this one, when all was said and hand-lettered, weighs in at 73 inches deep x 8 inches wide!! Taller than me, truth be told. When the high-res version was finally finished, I went to generate the web version and checked the Image Size in Photoshop and almost fell out of my Herman Miller onto the floor laughing.
So I apologize to anyone who now has to figure out how to actually use this thing. In a web browser, I should provide complimentary bandaids to protect index fingers from scroll wheel overuse, cuz damn, it really takes five minutes to get to the bottom. I tried reducing the width but legibility quickly went south.
In print form, it requires 8 sheets of letter-sized paper that will have to be stitched together (maybe I should have included a ruler grid along the sidebar so it can double as growth chart for your kids.)
If this thing doesn’t break Pinterest I’ll be curious to see if anyone re-pins it. The Egg and Fruit sticker graphic have done quite well but a) I’m not enough people really know or care about Kombucha to bother reading it, and b) it’ll look like a piece of moldy fettuccine in the feed. Muolto estupido.
To any aspiring graphic designers, consider the usability of your projects before executing.
To any aspiring illustrators with a bug up your butt idea you just have to share with the world, a few pens and a lot of paper, what the hell…onward and downward!
I like inclement weather. The closer I physically get to the fog-shrouded coast the more chipper becomes my demeanor. But this is nuts. It’s frickin’ May, it’s flippin’ California and it hasn’t gotten above 68 for weeks. My cats are velcroed to the bed. I’m wearing a sweater as we speak. I know this qualifies as a heat wave in god-forsaken zip codes like Minnesota but we Cali types prefer we stow our sweatshirts sometime around tax day and retrieve them around Halloween.
So just in the nick, a client needed an illustration for a concert extolling the virtues of Summer. Might be over the top. But I’m cold dammit.