First off Kev, thanks so much for post above.
"if you shoot for realism you get art, but if you shoot for art you get satire. (or something like that.) I mean, if you shoot for "comic books" you may miss and hit Hagar the Horrible."
And this sort of advice is why I keep coming back here, GOLD.
Anyway, I've been looking though this thread for years, and I always come back to it when in need of inspiration. Your line work, line wight, detail and composition is just amazing. And as just a quick question, How often do you use reference? Your poses and anatomy always look spot on, so do you use reff, or can you pull this off with out it?
And thank you again, I will always look up to artist like you and Whitaker of inspiration and advice.
P.S, and may I ask why you seem worried for people to rate this thread?
And please keep posting art,
Originally Posted by gutss
yesterday, God came to me in a dream and told me that if I don't become a comic book artist, he has decreed that I shall instead be a burlesque dancer.
And I said, "But God, nice panties are so expensive!"
And he said, "Welp, I suppose you better shut up and draw."
Thanks JailhouseRock2, Andy Brase, and Ed Cherniga...
JHR... I use reference when I think I really don't know what I'm doing on something enough to make it convincing. For instance, Horses. I've learned the general forms of the horse body, but I still have a great deal of trouble understanding how a horse's legs are put together in terms of bone structure, ligament, and muscle. So I'll try to ref that. Most of the rest of it is made up. Once you learn the human body well enough, everything else is pretty much boxes, cyllinders, and ellipses in various configurations. Really, everything is geared toward making the composition believable, and any one part is only made believable enough to get you to believe the composition.
Just off the drawing board..
Edit: Added the colored version...
Last edited by kev ferrara; April 28th, 2009 at 08:18 PM.
Jason, thank you very much. Yes, the story is mine as well, and all the lettering, and nearly everything else. Btw, I took a look at your website and I'm loving the work! Keep going man!
Chupacadabra... thanks man. That's very gratifying. The stuffs meant to be enjoyed. I hope you're kicking out something beautiful right now.
So, here's an old painting I took a digital photo of, and brought into photoshop and sketched overtop... I'm probably not going to go back and fix the painting, because I feel the image is sorta stale. Looking for opinions on it if ya got any...
Last edited by kev ferrara; April 28th, 2009 at 08:36 PM.
Awesome work Kev. I especially like that last one you posted, something about it reminds me of Jason and the Argonauts. Thanks for posting all of this up, there's tons of inspiration to be had here.
"I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain."
--- Frank Herbert, Dune - Bene Gesserit Litany Against Fear
Check out my Sketchbook! Critique and Criticism welcomed.
Just wanted to say Thank You for the wealth of inspiration and information in this thread (and others you participated in). Hell... you even got me started doing Bridgman studies! (Already had one of his books.. just needed a kick in the old arse).
Keep up the stellar work!
"Less questions. More doing.
Learn by doing. Learn how to learn without asking a million questions. Learn to trust advice. Learn to go with your gut, to go on your own volition. Go. Do."
- Kev Ferrara
Really like the last piece. Catacomb demon coming out of the soupy muck to threaten a barbarian hero? It reminds me of the Frazetta painting where the beast is coming from the water intimidating the girl. I think it’s the cover to one of the ERB books if I’m not mistaken.
Anyway, great execution of color and shade and high drama…….
So, here's the thing. Deadlander has become Dead Rider with the second issue. Some of you probably can figure out why. Let's just say, lawyers got involved.
I was looking through and noticed this post. I know its a year old by my curiosity is killing me. Did this have anything to do with the Deadlands role playing game owned by Pinnacle? I had thought those guys went out of business.
Anyways, you have got to be damn near my favorite artist. Your stuff is reminicent of the old Creepy and Eerie magazines.
Sir, your work is really incredible. Not only that, I really appreciate the insights about art that you've shared here.
Apart from that, two thoughts.
.On the last painting you posted, in my opinion, the human character lacks a defined emotion. He doesn't look aggressive nor defensive nor scared nor suprised... apart from that, I really like the counter effect between the exit light and the green ominous bulk, giving an idea of last-moment attack.
.The second thought: I think I remember that you were preparing a book about composition. How is it going?
Thanks again for sharing
気計 - Quike "Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.."
Damn Kev, I know I've said this to you before but your work is like....5 kinds of badass. Love the tonal arrangements and beautifully designed silhouettes. Lots of character too and the drawing is rock solid.
ChrisB, ArtZealot, Mbyle, Chronberg, Artheme, Bruce, Wiggum, Quigleyer, Quickenobi, Pauscropi, PanchoSimpson, TheGnoll... You say nice things! Thanks much and I'm glad if my work makes you inspired in your own.
Quickenobi, you are absolutely right that that figure doesn't have an expression on its face. I had it in mind to make his mouth more tense, pulled back to bear a bit of teeth below the 'stache, but to keep him sort of stoic in the face of the threat. Maybe I'll fix that.
Anyhow, here's a pencilled panel I've scanned in because I'm probably about to ruin it with ink... and if that happens I can always just use the pencils in the graphic novel.
Here's the panel inked but not erased. Also, I'll probably go back in and add a few dabs and line in opaque white to fix some stuff. I have to remind myself that this is only the cartoon of the image. The real image will only show up once the values are in when I color it. So I always have that in the back of my mind.... As well as the fact that the image size, when printed will be about 3 inches high... This means that whatever "looseness" I've achieved in the inking will become tight, and the thin lines will disappear. Which is all to say, what ends up mattering the most is simply the graphic design of the panel. And all the lines I'm making matter only to me and those who appreciate illustration, and not at all to those who just want to appreciate the story I'm telling. That's the reason why most comic book artists work in a very simplified style.
Kev, you're like a badass ink genie! One day I wish for some sweet inked panels, and the next - here they are! I like your little insight about working for an audience of one - sometimes those disappearing elements are the best part. It's like keeping a little part of your drawing for yourself to enjoy - thanks for sharing it with us!
On the book on composition, its something that I began a long time ago just as a personal way to record my thoughts on art as I set about learning, discovering, theorizing, and teaching myself to make the art I wanted to make. I'm still not the artist I want to be, and I've just begun to "make my name", as the saying goes, so even though what I have to say might be interesting or valuable to others interested in applied aesthetics, the treatise will probably remain a work-in-progress as long as I am a work-in-progress as an artist.
Maybe twenty years down the road, if a great deal of luck is on my side, I can be in a position where people actually care about what I have to say on the topic. Maybe if I end up teaching, I can use whatever institution I'm attached to, to put out the book "legitimately".
But, right now, I'd just be putting out another "drop in the bucket" art book by some unknown. I don't want to do that. The information is too valuable to me on a personal level. Plus Jim Gurney, and Stapleton Kearns and other top names are doing their books now and there is no doubt that these books will be fantastic. And given that you can download Greg Manchess's video from this website right now (!) you'd be crazy to waste time wondering what I have to say about art!
Best to you all,
Last edited by kev ferrara; August 8th, 2009 at 06:01 PM.
Awesome thread, beautiful inks. In my opinion there can never be enough ink in the world. Doesn't matter if you mix it on a palette, in a jar or with your wacom, I love it all. Especially love the horse work here. Years ago I drew nothing but horses for a few years and I never tire of seeing dynamic well drawn horses in action. I hope you'll post this piece above when you're finished. I love to see it again.