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.

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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.

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.

Dot shading and the tale of two fingers.

Two Fingers, an ink artwork by Jon Tremlett for Soulcraftcandy 2015

We’ve all done this at some point surely?

It has often crossed my mind that there is something mildly masochistic about certain aspects of pursuing a creative life. Obviously there are all of the usual traits that we exhibit like the vocational tug toward a certain specialism, the need to express ourselves, a slavish attention to detail and a preparedness to burn the midnight oil to meet a deadline but, there is also this uncontrollable little monster that drags you back toward things which make you uncomfortable and disinclined to take an idea forward. I’ve come across lots of these over the years and generally, once one succumbs to the temptation (can’t think of a better way to put it) you find you’re off on another journey that prior to that moment you said you’d never take again. And oddly, you’re quite enjoying the trip. These are perhaps slightly too strong words to describe it but I think it’s true nonetheless. The little monster that is the subject of todays post is dot shading.

I’ve written about the challenges of using this technique before, it is incredibly time consuming and can sap your will power if you let it, and have even gone as far as saying I wouldn’t use it again. But you see, and this is where the masochism comes into play, for some reason I just can’t resist it. It is an utter monster of a technique but, and this is where it really gets you, it just gives great looking results, pure and simple. Never say never again, I don’t think so. There a change in attitude in the air today which suggests I’ll happily be engaging with this technique a lot more from now on. It’s got me hooked, the evil thing.

Now I’ve got that off my chest here’s a bit about the picture above. I was really happy by the look and feel of the “Catch me if you can” picture, the shape and composition, the background idea and the naughty hand gesture. Wanting to do another similar piece got me thinking and I realised it was the hand gesture that was holding my attention. It’s irreverent, slightly rebellious and hints to so many aspects of our lives on two wheels. It evokes great memories of shared teenage rebelliousness, our desire not to be dictated to by The Man and a general “Piss off” to the establishment. We’ve all done it at some point in time whether in jest or otherwise. Plenty of reasons in my mind for it to feature in some other pictures. You’ll notice I’m also still playing with the idea of the detailed street scene background. For me it’s a great way to get a bit of humour into the pictures and place the central character in a relatable context. Here’s a detail panel so you can see what’s going on in that section.

Detail of artwork by Jon Tremlett for Soulcraftcandy 2015

For those of you who are not familiar with it, the “V” sign is an almost uniquely English thing, though it is apparently shared across some of the Commonwealth nations like Australia and New Zealand. Essentially it means “f*** off”, and should not be confused with the contemporary peace sign or the victory salute loved by a certain Mr. Winston Churchill, where in both cases the back or the hand faces the giver rather than the receiver. With the back of the hand facing forwards, this becomes a potent symbol of abuse. No One really knows where it first came from, but the most popular myth is that it was used by English long bowmen during the 100 years war with the French, a lengthy conflict spanning the 14th and 15 centuries. It was said that captured archers had their bow string fingers cut off by the enemy, so on the battlefield the English archers would wave their fingers at the French to taunt them and show that they still had them intact. It’s a great story but, as I said, no one knows if it’s true.

Don't confuse the two.

Don’t confuse the two.

Thanks for dropping by today and I hope you enjoyed the post.

It’s been a long time coming.

"Catch me if you can", a biro drawing by Jon Tremlett for Soulcraftcandy.

Finally, finally, finally, today it’s time to reveal the latest finished drawing. For now it’s called “Catch me if you can”, and I think it will probably stay that way. This one has taken rather a long time to complete, though I’m hoping you’ll see why and understand my excitement at seeing it done. As I’ve mentioned before it is inspired by an idea thrown at me by Steve Carpenter over in California, a nod to the underlying disregard for authority and convention that underpins our shared love of motorcycles and what we do with them. Having said that I would add that this is by no means meant to celebrate bad behaviour or law breaking (much).

As with some of my previous drawings this one is drawn using a yellow barrelled fine tipped Bic biro (c’mon guys where’s that sponsorship ;D) on 250gsm Bristol Board at A3 size. For some reason, and I think it might have something to do with not having done a biro drawing for a while, I approached this with a level of conscientiousness that I found quite surprising. Hence the time it’s taken to finish. I even got to the point of wrapping tape around the barrel of the pen to remind me where I needed to hold it to get a particular line weight and thickness. They say that God lives in the details, and perhaps that’s where He is in this one, not in the picture but in the bit of blue tape wrapped around my pen?

For much of its gestation the picture was just the bike and the pursuing police car but, following what I did on the V-Bob picture recently, see the post here, I decided to put in some street scene to provide some context and stuff. I think it works quite well. Aside from the cartoon nature of the depiction, like the hand gesture and the light flying off the car roof, the street scene offers the perfect opportunity to inject a little bit of extra humour into the composition. It’s something I’ll be working on more in future, it appeals to my sense of the ridiculous. I’ve been wandering around my neighbourhood here in Ealing taking lots of pictures of local shops, pubs and buildings so that I can build a little reference archive to use for future inspiration.

As usual I’ve put this up as a low resolution image, so apologies if you’re struggling to see the detail. Please feel free to share it but, I would ask that you don’t use it for any other purpose for the time being. Much obliged and thanks for dropping by today, I hope you enjoyed it.

Here are some details from the drawing for you.

Details of "Catch me if you can" by Jon Tremlett ©2014.

Today I drew a car!

Mustang sketch by Jon Tremlett for soulcraftcandy.

I’m currently working my through a small book I bought recently about creativity. Needless to say I find it extremely interesting. The book is called “12 Rules of Creativity” by Michael Atavar, you’ll find it here. In the opening chapter is some stuff about training your eyes to really look at things, to really see what’s in front of you. What’s this got to do with drawing this car? Well, I’ve tried a number of times over the last few months to get this picture underway, and each time I have utterly failed to capture it in any way that was remotely close to what I was looking for. Realising the other day that it would be a good idea to have another go, I thought I’d read that chapter in the book again before picking up the pen. By reading the pages and looking up at some photographs I’d taken of the car on the computer screen, it was suddenly much easier to see what I was looking at and, see in my minds eye the composition of the image I wanted to create. Funny that. I’m not exactly sure how it worked but some connection in the brain suddenly got made, and forms that I’d struggled with previously seemed to be more easily understood. Once I’d established an eye line and got my head around the extreme perspective the sketch progressed fairly quickly, though I did have to have a couple of goes at getting the wheel angle where I wanted it.

Consequently I’m pretty happy with this first drawing, which I’ve done in my favourite blue Bic biro on a very cheap sketch pad. It will go onto the light box next so that it can be traced onto some watercolour paper ready for painting and inking.

Ultimately the picture is going to be a gift for my friend Christophe in France. We will be visiting him next month for a house warming party, so I’m hoping he’ll like it and put it up in the new place. He’s a confirmed petrolhead, and this is him in his beloved Mustang, a car I can only describe as a ballistic tank.