Gigantic Panel!

If you’re attending PAX Prime, you should totally find me! I’ll be hanging out at the Gigantic booth probably, and you’ll definitely find me at the Panel I’ll be a part of Friday about the art of Gigantic.

Here are some shameless plug links:

http://www.gogigantic.com/news/Gigantic-2014-PAX-Prime

https://www.facebook.com/events/600988810021341/

Sooo ya, come find me, play the game, see the new stuff, throw peanuts at me, whatever fickles your tancy

Most of the questions I get are on my process and brushes, so I figure I may as well do it properly and make a real process post to share! My process can vary a lot from image to image but this is how I generally approach doing character work at least.
I use pretty basic brushes. A hard opacity round brush, something with a little chalky grit to it and a soft edge brush. The textured one really doesn’t matter to me that much, it’s just there to provide some noise and edge control where I need it. I feel like my work informs the brush I pick rather than the other way around.
A lot of the heavy lifting starts in the beginning for me. I like to work on a tight drawing and use that as my skeleton for the rest of the painting. The underdrawing isn’t meant to be pretty since little of it will remain in the final, but I keep it around. The original spirit of what’s interesting is sparked in the drawing, so if i lose it while painting I can always look back to it to see what was lost.
Zoom Info
Most of the questions I get are on my process and brushes, so I figure I may as well do it properly and make a real process post to share! My process can vary a lot from image to image but this is how I generally approach doing character work at least.
I use pretty basic brushes. A hard opacity round brush, something with a little chalky grit to it and a soft edge brush. The textured one really doesn’t matter to me that much, it’s just there to provide some noise and edge control where I need it. I feel like my work informs the brush I pick rather than the other way around.
A lot of the heavy lifting starts in the beginning for me. I like to work on a tight drawing and use that as my skeleton for the rest of the painting. The underdrawing isn’t meant to be pretty since little of it will remain in the final, but I keep it around. The original spirit of what’s interesting is sparked in the drawing, so if i lose it while painting I can always look back to it to see what was lost.
Zoom Info
Most of the questions I get are on my process and brushes, so I figure I may as well do it properly and make a real process post to share! My process can vary a lot from image to image but this is how I generally approach doing character work at least.
I use pretty basic brushes. A hard opacity round brush, something with a little chalky grit to it and a soft edge brush. The textured one really doesn’t matter to me that much, it’s just there to provide some noise and edge control where I need it. I feel like my work informs the brush I pick rather than the other way around.
A lot of the heavy lifting starts in the beginning for me. I like to work on a tight drawing and use that as my skeleton for the rest of the painting. The underdrawing isn’t meant to be pretty since little of it will remain in the final, but I keep it around. The original spirit of what’s interesting is sparked in the drawing, so if i lose it while painting I can always look back to it to see what was lost.
Zoom Info
Most of the questions I get are on my process and brushes, so I figure I may as well do it properly and make a real process post to share! My process can vary a lot from image to image but this is how I generally approach doing character work at least.
I use pretty basic brushes. A hard opacity round brush, something with a little chalky grit to it and a soft edge brush. The textured one really doesn’t matter to me that much, it’s just there to provide some noise and edge control where I need it. I feel like my work informs the brush I pick rather than the other way around.
A lot of the heavy lifting starts in the beginning for me. I like to work on a tight drawing and use that as my skeleton for the rest of the painting. The underdrawing isn’t meant to be pretty since little of it will remain in the final, but I keep it around. The original spirit of what’s interesting is sparked in the drawing, so if i lose it while painting I can always look back to it to see what was lost.
Zoom Info
Most of the questions I get are on my process and brushes, so I figure I may as well do it properly and make a real process post to share! My process can vary a lot from image to image but this is how I generally approach doing character work at least.
I use pretty basic brushes. A hard opacity round brush, something with a little chalky grit to it and a soft edge brush. The textured one really doesn’t matter to me that much, it’s just there to provide some noise and edge control where I need it. I feel like my work informs the brush I pick rather than the other way around.
A lot of the heavy lifting starts in the beginning for me. I like to work on a tight drawing and use that as my skeleton for the rest of the painting. The underdrawing isn’t meant to be pretty since little of it will remain in the final, but I keep it around. The original spirit of what’s interesting is sparked in the drawing, so if i lose it while painting I can always look back to it to see what was lost.
Zoom Info
Most of the questions I get are on my process and brushes, so I figure I may as well do it properly and make a real process post to share! My process can vary a lot from image to image but this is how I generally approach doing character work at least.
I use pretty basic brushes. A hard opacity round brush, something with a little chalky grit to it and a soft edge brush. The textured one really doesn’t matter to me that much, it’s just there to provide some noise and edge control where I need it. I feel like my work informs the brush I pick rather than the other way around.
A lot of the heavy lifting starts in the beginning for me. I like to work on a tight drawing and use that as my skeleton for the rest of the painting. The underdrawing isn’t meant to be pretty since little of it will remain in the final, but I keep it around. The original spirit of what’s interesting is sparked in the drawing, so if i lose it while painting I can always look back to it to see what was lost.
Zoom Info

Most of the questions I get are on my process and brushes, so I figure I may as well do it properly and make a real process post to share! My process can vary a lot from image to image but this is how I generally approach doing character work at least.

I use pretty basic brushes. A hard opacity round brush, something with a little chalky grit to it and a soft edge brush. The textured one really doesn’t matter to me that much, it’s just there to provide some noise and edge control where I need it. I feel like my work informs the brush I pick rather than the other way around.

A lot of the heavy lifting starts in the beginning for me. I like to work on a tight drawing and use that as my skeleton for the rest of the painting. The underdrawing isn’t meant to be pretty since little of it will remain in the final, but I keep it around. The original spirit of what’s interesting is sparked in the drawing, so if i lose it while painting I can always look back to it to see what was lost.

Anonymous asked:

Your stuff is insanely incredible, I especially love you creature designs and your use of color! any educational tips on design and/or learning to be a chroma master like yourself?

Thank you! Those are two very separate questions, haha. I think I need to answer the color one separately in a tutorial or something. As far as creature design, I think it’s key for strong designs to feel like they serve a purpose; biological function, story narrative, game mechanic, whatever it may be. Ideally they service multiple purposes and feel intentional. Strong purpose helps inform my work a lot, and after I understand exactly what it is I want to achieve it becomes much easier for me to design towards that goal. that can be said about a lot of design, actually! Good ideas informing good aesthetic design choices are what I aim for.

Something that will help both color and design is observational study, and paint paint paint! Can’t go wrong with that ever, it’s so important.

Did a couple environment sketchy, study things. Trying to use the style I’ve been using for my characters to get me interested in doing more full scenes.
Zoom Info
Did a couple environment sketchy, study things. Trying to use the style I’ve been using for my characters to get me interested in doing more full scenes.
Zoom Info

Did a couple environment sketchy, study things. Trying to use the style I’ve been using for my characters to get me interested in doing more full scenes.