Supporting a good cause.

113_CycleBerlin©JonTremlett2016

This blog of mine started out as something that happened in the background as I pursued my life as a freelance designer and maker, providing a motivator for my interest in developing my drawing and other creative outlets. Over time it has started to include, every now and then, things that happen in my professional life as well. Being a freelancer, though an often precarious existence, allows you to branch out from your core skills when the urge takes you. As a result I have been able to undertake some graphic and illustrative work which is interesting, challenging and different. Some of it is paid work, which helps to balance the books, and at other times it is not. The great thing is that the choice to undertake unpaid work is mine and mine alone, and so what often precedes this is the question of whether or not the subject interests me.

In this case it did. The image above is a small water colour and ink drawing that I have recently finished. My niece Rose, who is currently resident in Berlin, is involved in a campaign to promote the many benefits of cycling in the city. As part of their strategy to increase awareness of these benefits they are exploring ways to communicate the freedom that cycling gives both the city’s inhabitants and visitors alike. Hence she asked me if I could come up with an image that did this that they could use on promotional materials that they could sell, helping to raise funds for the campaign. It was a very open brief and one I felt I could find an answer to.

Needless to say there was a good deal of head scratching and sketching, and at one point I began to doubt my ability to find something to work through. And then out popped this idea, centred around the idea of cycling being a means of spreading freedom, joy and good health. The heart shaped balloon (symbolic of love, joy and good health) flying over the city, powered in a highly sustainable way by a cyclist, hints at the freedom that cycling gives you to go pretty much anywhere whilst benefitting yourself and the city at the same time. The inclusion of the iconic television tower as a recognisable Berlin landmark contextualises the scene and helps to bring a lighter more comedic flavour to the sense of freedom that the picture hints at. Rose peppered her request with words such as quirky, whacky and unusual, and I tried to bring these to life in the “mad inventor” character and his extraordinary machine, drifting high above the city much to the astonishment of local bird life and observers in the tv tower.

The final image was first traced in pencil onto some heavy water colour paper on the light box and then stretched onto a board. I’ve discovered that stretching the paper after you’ve placed a drawing onto it doesn’t seem to distort it in any way, and can save you hours of painstaking redrawing from your original sketches. With some photographs of the tower and views of the city it was then simply a case of laying the greys and colours on in light tints to slowly build up the the tones that I needed to achieve. This takes a while, but enables you to bring the image up to where you want it without overdoing things. Painting the cityscape was the hardest part, forcing oneself to be abstract is a good deal harder than I realised. When all the colour was down and the image dry, it was then a case of outlining with technical pens to bring some definition to bear.

I’m told that it has been very enthusiastically received, though I am yet to see what they will do with it. I really hope it brings some further recognition to their campaign and puts a smile on a lot of faces. It was certainly worth doing and I’m very happy with the result. I hope you like it too.

T-shirts, prints and shop fronts, it’s all go.

Bonnie_girl_design©JonTremlett2016

At the time of the last post I’d just sent the second batch of t-shirt ideas over to my contact to see if he would go for any of them. I didn’t have to wait too long this time for a reply, he picked the one shown here. It would be tempting to be a little disappointed with this result after all the work that’s been done, but this is outweighed by the knowledge that I learned a great deal during the process, and have actually ended up with some images that I really like and can do something with in the future.
So, one of the things that I’m going to do is create some hand made prints. This is something that I have wanted to do for a long time. With all these fresh images to now play with it seemed like as good a time as any to have a go. The way the designs have worked out, in very obvious black and white format, they will hopefully lend themselves very easily to a basic printing process.

Lino_cut_1©JT2016

To be honest with you I haven’t done anything like this for a very long time. Wondering which printing process to try led to lots of questions, the answers to which became self evident quite quickly. There are lots of different approaches to take ranging from the utterly basic to highly involved, simple block printing through to complex etching processes. I plumbed for the simple and settled on having a go with lino cut printing. The last time I dabbled with this process was back at school many years ago, so any learning that I had gained back then was gone and forgotten. Again, another opportunity to learn something new. The shot here shows my starting point. On the left is the design I wanted to transfer onto the lino sheet ready for cutting, on the right is it drawn out onto said lino. I have reversed the image, so that it will print the right way around and started to make some tentative cuts into the surface to create the relief to take the ink. This is as far as I’ve got for now and I’ll update the next steps in a subsequent post.

Bill_B's_New_shop_front2016

The final image here is something else entirely. Regular visitors to the blog may remember that back last summer I designed some t-shirts for my local bike shop, Bill Bunn Motorcycles, here in Ealing. It’s great to report that they’ve been selling well and the guys there wear their shirts religiously when working in the shop. I visited there a couple of weeks back only to find that they have undertaken the next steps in their shop refresh and gone and had new front signage made based around the shirt design. I had to take some pictures. They tell me the box signs are back lit, so at night it’s all illuminated which I’m looking forward to seeing sometime soon. I’m immensely chuffed that they have considered the design good enough to take it to this end. A big thanks to them for boosting my confidence and paying my work such a compliment.

Putting your learning into practise.

Girl_T_Comp©JonTremlett2016

As you will have read in the previous post, I have been expending a lot of energy recently learning how to draw women as part of a project to try and produce some designs for t-shirts for women. It has not been as easy as it sounds, and to be honest with you I’m still not sure that I have cracked it, though I feel I’m certainly making progress.

The journey from the collection of sketches to some finished proposals has been a long one involving lots more sketching and redrawing in an effort to get some kind of unifying style working across the various ideas. This process is invariably made all the more challenging by the considerations and resulting constraints that come from thinking clearly through the whole process of how these shirts are made and printed. The quality of the final printed image is reflected in, and can be traced right back to, the quality of the picture you create in the first place. The shirts made from any of the selected images will be screen printed which means I need to aim for crisp line work and clearly defined details.

In the absence of a more detailed brief I decided that I would go forward with a combination of ideas. Firstly I picked two rather obvious ideas based firmly on a girl riding a bike, and then chose a couple of others based around a more emblematic approach. Each one was worked up as an inked drawing to start with, and done as neatly as I could manage. The girls on the bikes were reasonably straight forward to do in a general sense though I was really conscious of introducing something to try and bring some increased movement to the images. I’m not a fan of using speed lines and blurring to do this, my drawing style doesn’t work that well with them, so elected to simply try and show movement by trying to mimic hair blowing in the wind. The second two choices came from trying to approach them more like logos than pictures and incorporating some recognisable cues from the cafe racer scene like chequer pattern and jacket decoration.

Girl_T_Comp2©JonTremlett2016

Drawing these things is time consuming enough, but tidying up the high resolution scans can be even more so. Again, it’s back to the quality of the image you start with. Screen printers will invariably ask for vector based artworks and so each drawing needs converting from a scanned bitmap image to vectors in a program such as Adobe Illustrator. The software handles this with ease, but you have to ensure that your starting image is as clean, crisp and high contrast as possible. The vectorising process essentially traces your drawing creating paths and fills as it goes. By adjusting various controls in a dialogue box you are able to influence the fidelity with which the software does this task. The cleaner your starting point, the fewer options the process has for including or excluding small elements of the drawing and details. Once the drawings are vectorised though, you can easily include them in more complicated designs in Illustrator, edit them further, or simply use the resultant artwork as it is. If I was more proficient in Illustrator to begin with I might be able to draw these things directly in the program, but sadly my skills aren’t there yet. At least using this approach I end up with both a good quality digital artwork and a nice ink drawing for the portfolio as well. Because the digital images are now editable, one can make limited changes to them if need be, without the need of doing a whole new drawing.

112_T-shirt_comp1©JonTremlett2016

Finally I thought it would be fun to show the ideas as shirts rather than just images on their own. Plundering an image search for white T’s being worn, it was simply a case of pasting the designs into place to lend a degree of realism to the whole thing. I then sent these to my client/contact and began the waiting process. Let’s see what he comes back with.

Can you draw women?

Bike_girl_comp©JT2016

Ok, so here’s a thing, time for a confession, I’m pretty rubbish at drawing women. There, I’ve said it. This sounds like one of those introductory confessions one might be asked to make upon a first attendance at a therapy group. Like, “Hi, my name’s Jon and I can’t draw women”. This is neither something to be proud of or be ashamed to admit. Don’t ask me why this is so, it’s just the way it is. Some people probably find drawing people, whatever their gender or form much easier than others. Other folk probably find drawing men less hard because it is easier to express generic masculine traits and you can get away with portraying less good looking men (!?). And then there are those who find the innate curvature and character of the female form easy to capture because they just do. One thing’s for sure though, and that is that when asked to view a drawing of a woman most of us automatically make some kind of judgement based on the perceived beauty of the rendered subject, i.e. if your drawing doesn’t portray a pretty/elegant/feminine woman, it’s the first thing people will comment on.

The above is only intended to be a cursory observation, the whole discussion around how we render and view human subjects is much, much more wide ranging that this, but what it does do, I hope, is shed some light onto how difficult it is to get to grips with a subject area such as this. Not being someone who has ever really received the benefit of extensive life drawing classes or any formal training in figure drawing, I have arrived at a point in my creative life lacking the confidence to draw half the people who surround me. I’m sure I’m not alone.

This new challenge came about through a request from a contact about possibly designing some t-shirts for women. Throwing my usual caution to the wind I agreed to have a go and then quickly realised that I would have to do something about the fact that I have never really successfully drawn women who look like women. To be honest with you, when I’ve had to do it in the past I’ve either traced off a magazine picture or concocted something akin to a rather effeminate man. So, time to put all of that to one side and see if I could actually learn how to do it more convincingly. I don’t know which is harder, learning a new skill like this in a straight drawing sense or in the cartoonish vein in which I normally work? Time to find out.

BGsketch_comp©JT2016

Thankfully, and this is again where the internet comes into its own; one is not short of resources to study as a way of starting. One can not only gain access to myriad video based tutorials on YouTube etc., but you can also find every single kind of cartoon style referenced so you can easily see how different characteristics are emphasised depending on the style you want to follow. To give you just a couple of examples; if mastering eyes is problematic for you, there are hundreds of variations and iterations to be found within the Manga drawing style and if the classic hour glass figure is something that you want to focus on, you will find plenty of guidance if referencing mid 20th century lifestyle and fashion illustration.

My brief, such as it was, was “Marilyn Monroe in a Bell helmet”. Quite a broad brief to say the least, so plenty to think about. My first scribbles, shown above in the first selection from my sketch books was as much about the brief as it was about learning the distinct attributes of a woman’s face. Eye shape, size and position, the jaw line, the line of the brow, the position and proportion of the nose and the mouth. These all sound incredibly obvious but until you have to think about them and draw them, your brain just rumbles on telling you that this should all be easy as it knows all this stuff already. No it doesn’t, you have to teach it and at the same time convince your drawing hand to follow. This goes right back to previous posts I’ve written about the idea of embedded knowledge. You’ve got to look and look and look, and then draw, draw, draw until hopefully things start to feel natural. It takes work and there’s no easy way around it unless you want to spend your life tracing photographs.

I was also trying to think about shirt designs at the same time, so this had quite an impact on my sketching, both in terms of speed and overall feel. Some of my attempts are way off, some are starting to point towards something more workable. The second of the images is another compilation of sketches where I am starting to get the hang of it, though you can see I’m yet to get my eye shape and spacing anywhere near right. I must confess also, that by this point I’d had gone back to referencing some old lifestyle photos in a book to try and speed things along. It seems to work best for me if I am combining an iterative drawing approach with regular reference to other materials. Placing a crash helmet onto a woman’s head brought its own challenges and I ended up taking lots of photos of my own crash hat at various angles to give me an idea of how its many curves look when not viewed simply in elevation. The bikes I didn’t seem to have a problem with. Funny that.

More on this in the next post I hope.

New drawings and a wake up call.

Wakey wakey Jon!

Writing the first post at the end of an absence is the hardest thing. It’s not about working out where to start per se but, it’s more about avoiding the endless list of excuses as to why this has happened. This is not so much to make my readers feel some kind of sympathy for me, more to do with appeasing my own guilt at having been so neglectful. Ok, that’s the bit about feeling bad done with. There is one big excuse though.

CR_group©Jon Tremlett2016

You may have noticed in a couple of the pictures from the last post that I’m standing in front of a rather untidy brick wall. Well, that was the remains of my kitchen and was taken at a time when we had just embarked upon a major overhaul of the house. Various building works to remove some walls, make holes in others and finally fit a new kitchen were already turning our lives upside down. It went on for quite a few weeks. To finish everything off it was down to me, a form of self selected masochistic punishment, to build some big floor to ceiling cupboards, box out the under stair area and fit bookcases, all after redecorating the whole of the ground floor. It took a while and consumed my life until well after Christmas. All done now, until I need to get cracking on the first floor. A smaller project that one.

I was still doing some drawing but not making the effort to blog about it, so I’ll shed some light on what I’ve been up to on that front over the following posts. The photo above is of three black and white reductive ink drawings that were done after doing the t-shirt for my local bike shop (they sell like hot cakes by all accounts, which is good to hear). I have a contact in the US who fancied some designs for shirts of his own, having seen the blog post, so I set out to see what I could rustle up for him. Two of them made it through to printing and can be found in the apparel section of his web shop here, http://carpyscaferacers.com. They look pretty good combined with his type work so I’m hoping they’ll sell well and more work comes of it.

Thrux_comp1©JonTremlett2016

These next two pictures are really to shed some light on my process and show the preliminary sketches I do for these pictures so that you can see where things come from and how they change and develop as I move them through to inking them up. I invariably reach for my favourite blue biro for preliminary sketches, for no other reason than they’re lovely to use and one can achieve such a variety of line weights. This helps hugely when I want to move a line or change details. These are then traced off on the light box, making changes along the way, to give me a base drawing that I can then ink over. It may seem rather a long process, repeating a drawing two or three times but, it’s the best way to get it how you want it. The downside is that this is one of the main reasons why these drawings take so much time.

Thrux_comp2©JonTremlett2016

As before the inking is done with Rotring and Steadler technical pens so that I can maintain as crisp a line quality as possible and there is no ink bleeding on the thin Bristol Board I use. Because the ink is similar to Shelac based Chinese ink, it is very black which is a great help. You don’t have to go over everything twice to get great opacity and it’s just about sturdy enough to cope with tidying up the drawing with a small eraser after you’ve finished. The creation of printable artwork for shirt printing requires these drawings to be scanned and converted to vector paths in a graphics package, so the cleaner and crisper the initial scan the better. I’ll talk more about the whole vectorising thing in a later post.

I hope you like todays pictures and thanks for visiting the blog.

A good pen is an expensive tool, look after it.

The finished workshop polo shirt.

The finished workshop polo shirt.

So here is the shirt design for Bill Bunn Motorcycles, my local bike shop, in its finished form. The guys very kindly gave me a polo shirt in way of payment, which makes one feel very good about the idea of bartering. The quality of the screen printing is really good and the level of line and detail they have managed to keep is very high. A great result.

This black and white block reductive drawing is becoming strangely addictive. Partly I think it has to do with the process being quite quick, you see results quite fast but, it also has much to do with the simple pleasure of pen use and the decision making process. Areas of the drawing are either black or white and that’s it, this way or that, simple. As more drawings take shape it becomes easier to decide which way to go, ones ability to “see” what gets left out becomes clearer. It is amazing how the eye and brain are able to build a complete image from only a rather basic framework of information.

Big_Ink_CB750©JonTremlett2015

This activity is also helping me to complete some drawings which have been lying dormant in the drawing chest because I couldn’t decide on how to finish them. This indecision invariably comes from a lack of confidence and a worry about messing something up having invested a great deal of time and effort into it. For some reason this temerity seems to disappear once I start thinking of completing them in this style. One example is the drawing above. It must have sat in the drawer for about a year while I dithered over the final execution. However, armed with a couple of freshly filled Rotring pens it all came together rather quickly. there is still some background to complete to bring it on a bit further but essentially a neglected work has taken on new life.

Techy pens1

One aspect of working in this way is that I’ve realised that I actually have a rather unhealthy pen fetish! I’m actually a bit of a technical pen nerd in reality. It is a necessary part of using these things that one has to be rather fastidious about their cleanliness in order to get the best out of them, and I find myself enjoying this often messy job. There’s something terribly satisfying about making the first lines after a thorough clean and refill of my most oft used pen. What strikes me as a bit excessive is why I have to have so many of the things? At least a dozen at the last count, though not all are in working order. Long neglected at the bottom of a drawer, one or two are utterly dried up and solid with ink residue, a rock hard shellac like substance that seems to be impervious to most solvents. Prolonged soaking in cleaning fluid, often weeks, helps to release things but often the smaller sized nibs are beyond help. I have no idea why I have so many, like many bits of drawing equipment we just seem to accumulate them unwittingly over time. I remember purchasing my original Rotring box set over 30 years ago, second hand from a market stall but where the others have come from is anyones guess. Likely bought because I’d forgotten I had that size already or they were so bunged up I just went and got a new one rather than bother cleaning them out. Profligate and lazy days to be sure. One thing being a freelancer teaches you though, is looking after your stuff so hopefully m nibs can look forward to a more pampered and productive life from here on.

Support your local bike shop.

The finished design at it will look on the shirt back.

The finished design at it will look on the shirt back.

It is an old english adage that the centre of any small community is the local pub, a hub around which much of the activities of the local people revolves. This is invariably true and in larger communities it is also true that local shops and tradespeople make a huge contribution to the life and vibrancy of a place. Now more than ever it falls upon us, particularly here in the Uk, to support these small local businesses as more and more areas fall victim to the scourge of the megastore. I’m trying to do my bit, buying bread from the baker, meat from the butcher and sundries from the local hardware store. Being an avid motorcyclist I’m also making myself a regular customer down at my local bike shop.

Bill Bunn Motorcycles, a small family business, has been in existence for about 50 years and is the epitome of what your local bike shop should be; compact, friendly and happy to handle everything from an engine rebuild to changing your oil. The guys there are always helpful, good humoured and armed with years of hard won wisdom and experience to help you keep your machine(s) on the road. They are a top team and deserve to stay in business for many years to come. Fortuitously, for me at least, it turns out that they are fans of my work, having found it via the blog last year sometime. A resulting chat, enjoyed whilst dropping the little Suzuki off for a new tyre fitting, revealed that they’re refreshing the store this year, sprucing it up a bit with fresh paint and a general sort out. So, along with some lovely old photographs they have, the guys wanted to hang some prints of my cartoons on the walls too. One should never pass up this kind of opportunity and I’ve supplied some framed prints to them with some prices if anyone might want to purchase one. They also asked about perhaps doing a design for a t-shirt based on one of the drawings so that they could get some shop shirts printed up. I said yes.

How to turn this into a vector artwork?

How to turn this into a vector artwork?

The title image to this post is the final design for the first shirt, we’re thinking of doing more if these prove popular, and will be printed on white on the back of the shirts with a shop logo on the front. I’ve never really spent much energy before working up stuff for a t-shirt print, though I have been thinking about it a lot recently, so this was a great chance to work out how to do it.

Although there are now lots of options open to anyone wanting to have some shirts printed, from simple transfers to laser cut vinyls, the one technique that still stands above the others in terms of crispness and quality is screen printing, and for that most of the printers require vector file artwork. So I needed to get from highly detailed dot shaded hand drawing to vector line art and I had no clear idea how. I knew that all the relevant software needed was sitting in front of me, I just hadn’t used it in this way before. Time to learn some new tricks and jump into the web for tips, advice and a whole host of helpful tutorials on Youtube.

Starting with a high resolution scan of the source image in Photoshop and converting it to a bitmap image, it was relatively simple to cut it out from the background and start tidying it up. What caught me by surprise was how long it would take to remove all of the dot shaded areas and then touch up the picture with erasers and brushes so that line thicknesses and detail areas were not so fine as to get lost in the subsequent tracing process in Illustrator. I admit that I had to go back and forth between the programs several times before things started to look right. Eventually I got it how I wanted it and dropped it into a layout for the final design.

Vectorised and ready.

Vectorised and ready.

The second thing that took me by surprise was the reversal process to create the artwork. Screen printing requires that the artwork, what’s to be printed, is presented in black on a white background. With this shirt the print will be white ink on a black shirt, so the artwork for the drawing needs to be reversed so that it’s the white bits that get printed and not the black bits. I hope this makes sense. The tricky bit here was making sure that when reversed the highlight areas in the normal image weren’t so small as to disappear during printing. This reversal had to be done in Photoshop before the tracing process took place but, it worked out pretty well.

The shirts are now ordered and I’m looking forward to getting my hands on one, it will be he first properly printed t-shirt I’ve ever designed, and that it in itself a really big step for me. As a result I’ve been pushing on with a couple of my own designs and I’m hoping to get those to print before too long. If they’re any good I’ll put some up in the blog shop. Watch this space.

Before I go, a quick apology for the blue copyright stuff across the images today. Like many I suffer from image appropriation and this is a small gesture to try and eliminate a bit of it.