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.

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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.

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.

The big Green Meanie – it’s finished.

A personal commission by Jon Tremlett for Soulcraftcandy.

For once, having said in the previous post that I was close to finishing a picture, I have done exactly that, and faster than I thought I would too. So here is the finished article. The pictures are the wrong way around today, finished one first, purely because it’s great to open a post with a completed picture. I’m pretty happy with how it has come out.

You will notice that I have left the top of the picture plain white rather than include the very dark area at the top of the reference photo. What drove my decision in the end was the thought that I wanted the main subject to really stand out, surrounding it in big dark bits would have dulled it off too much. So there’s just a hint of ochre wash back there to lift it further.

A personal commission by Jon Tremlett.

This view, and apologies for my iPad’s inability to take a decent photo in my studio, shows things at about the half way stage. With such dark areas in the image it was a bit of a juggler getting the various tones down in an order where they didn’t conflict too greatly. What helped was mixing two different kinds of grey, one for the riders leathers and the other for the bike area shadows, so I could maintain a distinction between them. The shadow areas go down in a couple of passes with the brush, but the leathers took rather longer, slowly building the tone with much thinner washes. The really tricky bit, doing the helmet and face, came last and again was a slow build. I’m not afraid to admit I find faces and flesh tones quite difficult so going slowly with a small brush gives me the best chance of getting it right. Finally, once all the above is dry, my attention switches to the ground area and their associated shadows, making sure I don’t include too much detail so as to keep your eye focused on the big green thing in the middle.

There is always a process of final fiddling and fettling at the end of the main paint stage. Each time your eye returns to the image after a short break you pick up on little things which just need a small tweak so out comes the tiny brush for some edge honing, some white gouache to bump some highlights up and a colour pencil or two. Some things you can’t adjust so there’s only so much you can do, your biggest challenge is knowing when to stop. This one turned out to be more of a painting than a drawing, something I don’t do that often, but I don’t think it loses anything because of that. Yes, it was a challenge but, it was a fun one to undertake which is just as important.

Thanks for dropping by today and hopefully you’ve enjoyed the post.

Julian and the big Green Meanie.

JW_photo

Firstly, a very happy New Year to all of my readers and followers, may 2015 be a great year for all of you. Here at Soulcraftcandy I’m hoping for a year full of interesting drawing projects to grapple with, some new adventures featuring some new materials and obviously, a whole host of new fans and followers. Not too much to ask for then! So let’s kick off the new year with a story featuring a very old friend, a big green machine and a triumph of physics over human ambition.

The friend in question is Julian, a lovely former wild boy I have had the pleasure of knowing for over forty years. Once a hard core bike rider, his various exploits deserve a blog all of their own, now a responsible dad. Having said that, he has never really lost the bug and as we speak is preparing himself for an off road rally trip over on the Baja peninsula. Watch out Mexico. Back in the day, Julian was the first person I knew who fully embraced the modern sports bike and the newly (at the time) burgeoning cult of the public track day, a barely veiled excuse for Joe Public to go ballistic on his road bike within the controlled confines of a proper race track. Needless to say at one such event our man came a cropper.

Julian has always been interested in my pictures and finally got around to asking me to do a commission for him. It goes without saying that his choice of subject is poignant, being a depiction of him aboard that sports bike on the fateful day he badly broke his ankle and hung up his leathers for a while.

Here’s the photograph, above, he supplied as reference and as you can see it’s not in the best condition or particularly in focus, but that’s not too much of a problem, there is more than enough information here to get going. I wanted to base the picture on this view rather than create a new one, but just tweak it here and there as it’s a great image to start with.

JW_First_trace©JonTremlett2015

The first step is to get the photo into my painter program where I can trace over it in digital pencil to establish some outlines to work with. This initial process also helps to embed some knowledge of the subject into my head so I can start to think about which bits I want to change moving forward. I’m still too much in love with hand techniques to go fully digital with a painting yet but, I’m sure one day soon it will happen. Though when you do that all you get is a print of your artwork, not the actual artwork itself, which is a very different outcome.

JW_Blue©JonTremlett2015

Using the printed trace as an underlay, it’s then onto the light box for another tracing exercise where I can start to move parts of the drawing around, like changing the position of the rider, and playing with the proportions of some details very slightly to gain extra emphasis here and there. Working with the blue biro helps me to see one drawing clearly over the top of the other. You’ll see I’ve shifted him off the seat a bit and given him a more heroic “knee down” stance to get some added dynamism into the picture.

JW_Pencil©JonTremlett2015

This third stage is the final pencil outline drawing on to the water colour paper I’ll use for the painting itself. Again, working on the light box, I trace off the blue biro drawing, tightening details as I go but only putting in the lines that I really will need to rely on. An H or 2H pencil is best for this bit, and light pressure so that it doesn’t leave grooves in the paper surface. All this redrawing might seem rather time consuming but it means I don’t have to worry too much about moving a line or erasing things, both of which will only damage the surface of the water colour paper. Once this is complete I soak the paper and stretch it onto a wooden board in readiness for taking the paint washes. Through experimenting I’ve found that it doesn’t distort the drawing in any way if you stretch the paper after putting the image on it, the secret is just to be patient and resist scrubbing and dabbing the paper too much during the process.

JW_Paint1©JonTremlett2015

When the paper is fully dry it’s time for the first layers of wash. Here I’m using a combination of cake based watercolours, some from tubes and intense liquid watercolours. For colours such as the characteristic Kawasaki green the liquid colours are brilliant. They both lift the image off the page and give it real punchiness. In combination with something like Payne’s Grey one can achieve some lovely transitions from light to dark and some really intense shadow areas. I love them though it pays to exercise caution as a little colour goes a long way and it stains the paper unlike the more “floating” colours.

The next post should see it completed and I’ll take that opportunity to cover more details of the process. So watch this space, it will be here very soon.

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.