Right now, it’s in the sketch phase, laid out in black and white. I’m gonna share some of my tips for creating this as I go along. Not so much a tutorial, but some helpful hints you can use when you create artwork in Photoshop.

Tools: All my work for this project will be created in Photoshop CS3… even the sketch phase. Photoshop is probably the most useful tools to sketch with, and I’ll share some settings I used to make it feel more like drawing on a sketch pad as opposed to drawing on a computer. I don’t advocate ONLY drawing with one or the other. PS has it’s advantages, such as the ability to undo, layer, and change hundreds of other little options. But I don’t view it as a replacement for actual, physical drawing. Maybe one day, when I get a Cintiq, I’ll change my view on this a bit, but for now, knowing when and how to use both digital or physical drawing is key to getting your project started right.

Right now, I’m using a Wacom Intuos 3 tablet. It’s the 6×8 variety, big enough to allow large movements, but small enough to fit in a backpack or shoulder bag. Know and get familiar with utilizing the pressure sensitivity… It will expand EVERYTHING you can do when doing digital work.

Getting Started: First things first, I need to create my document in PS. This picture is only going to be viewed on a computer screen, so, I’m going to make sure the color mode is RGB and the resolution is 72 pixels/inch. Since I’m only doing a black and white sketch, I won’t go into detail about the resolution and color modes, I’ll explain more about those in a later post as it demands an entire article on it’s own. Here’s a peek at my settings.

Beginning your sketch: Even though the end product will be transparent around the edges, I like to create a new layer and fill it with 50% grey. You can do this easily by pressing shift + F5 or going to edit > fill. You could also do this by selecting a fill color for your Background Contents when you  create your document, but I always forget…. annnnyways…

Shift + F5 or go to edit > fill

The reason I fill the BG layer  is that with this method of sketching, I’ll be using a lot of transparent colors. Over a transparent background, they will be VERY hard to see… So I fill it in with either 50% Grey or White. Most of the time I use grey because when I eventually lay color in, it provides a neutral comparison as opposed to seeing the colors against an all white or an all black background. Now, it’s time to sketch.

Here’s where you can start to see the power of using a Wacom tablet combined with Photoshop. I used to just get my Brush tool, pick a color and go right at it, but once I learned how to utilize my different brush settings I developed a method to make it more like natural drawing. Now if you’re drawing with a pencil and press down hard, You’ll get a dark line right? On the contrary, when you press lightly, you get a light line right? If you keep drawing on that light line with the same pressure over and over again, it gets darker and darker with every stroke. We’re gonna re-create that feeling with the wacom and some brush settings.

Select your brush tool or press B to use your brush tool. Then go to Window > Brushes or press F5 to open up your Brushes window. In here you can alter everything that happens when you use your brush tool. When you get a chance, come to this window and fool around with all the settings and experiment to discover all kinds of uses for this window when you’re painting. For now, we’re just going to duplicate my sketching setup. Click on Brush tip shape and reduce the spacing slider all the way down to 1%. When you’re using the brush tool in PS, the program is really just drawing a series of circles. Setting this number as low as possible ensures that all of your brush strokes will be smooth as possible. Set it at anything above 50% and try a brushstroke and see how it’s different to get an idea on what this slider does.

Next, make sure all other boxes are unchecked except for “Other Dynamics”. Then click on “Other Dynamics” the word not the checkbox. Under “Opacity Jitter” click on the dropdown box labeled “Control” and set it to Pen Pressure. Also make sure that Jitter is set to 0%.

Setting the opacity for pen pressure

Now, every time you make a brush stroke with your stylus, the opacity will vary depending on how hard you press down, just like a pencil. You can follow the same steps with your eraser tool selected and it will do the same thing whenever you erase.

Setting up your brush and eraser this way helps me SKETCH in a more natural way over a solid background. It won’t work as well when I start laying down my base colors, but for sketching, it works fantastic. While drawing, change your brush/eraser diameter sizes by right clicking on your canvas and moving the slider, or the easy way, by using the “[" and the "]” hotkeys. Zoom JUDICIOUSLY with Command + or Command  - (Ctrl if you’re on PC). Or hold Command + Spacebar and draw a box on what you want to zoom in on to have more control.

Like I said, there’s TONS of settings you can mess with on your brushes alone, so this barely scratches the surface of PS’s potential. Mixed with the different layer abilities the possibilities are endless. There’s plenty still for me to learn as well, so I don’t want to act like a know-it-all, but if you have any questions, lay em down in the comments below and I’ll get back to you the best I can. Until next time, EXPERIMENT, PRACTICE, AND SAVE OFTEN!

I know this is a lame excuse.

Please forgive me.

After this weekend, though, I will resume with our regularly scheduled program. Have a safe/fun holiday. (choose one)

<3 Mynt

Calvin and Hobbes - By Bill Watterson

(This is the first in a series of posts about people that have influenced my artistic endeavors in one way or another.)

Bill Waterson

For those of you not familiar with Bill Watterson, you may be familiar with his comic strip, Calvin and Hobbes. The strip, in essence, was about a six year old boy (Calvin) and his stuffed tiger (Hobbes) and their everyday real life and imaginary adventures. The “gimmick” of the strip was that Calvin saw his stuffed tiger as a living being, while everyone else viewed Hobbes as a stuffed animal… an element that Watterson obviously avoided explaining. It was just a law of that universe that he created, like gravity. The strip’s imagination, perspective, well developed characters and artistic style are things I still reflect on today. His work and story taught me valuable lessons of life and art. Of character integrity and what it was like to defend your ideals. And it’s not too far of a stretch to say that Calvin and Hobbes was one of the main reasons I started drawing in the first place many years ago.

I can’t remember the first time I read a Calvin and Hobbes strip. I was young, still in elementary school. I do remember getting my first Calvin and Hobbes collection book from one of those Scholastic Book Fairs that would visit our school from time to time. I read it cover to cover, and every time the book fair would come around, I’d find a new tome of strips that I didn’t have. Of course, they were all ones that I had read before in the paper, but I had to have them. At the time, I didn’t have the maturity or the understanding to know why Watterson’s work stood out to me so much. My favorites were the long stories that stretched across days, sometimes even weeks. I’d sit at the table eating breakfast, and pick up right where the last one left off. While other strips were doing commentary about recent events, golf jokes, or the same characters doing the same old things, Calvin and Hobbes seemed more interested in creating an entire world within each panel. And the Sunday strips (which I’ll get to later) were masterpieces. Towards the end of his comic strip career, Watterson reigned in stories that paled every other strip in the paper. Sometimes without a single line of dialogue. His landscapes were so vivid, his characters were so believable, and his honesty and timing were so amazing… it felt like I was peering into another world altogether every single day.

I learned later about the struggle for freedom within that Sunday format. That comic strip artists were forced to miniscule proportions and carefully plotted panel arrangements. These were great for an editor to place as many strips as he could in the space allowed, but not very conductive for telling a good story. Even still, in order to allow a newspaper editor the freedom to shrink down the strip even more, newspapers reserved the right to remove the first two panels of a Sunday strip. Take a look at your Sunday funnies next time. Many of the longer strips’ first two panels can be scrapped right out of there without damaging the “main strip’s” story at all. The artist, knowing full well that the first two panels will be tossed out of many newspapers, is forced to draw throwaway gags and one-liners. Watterson campaigned to have the freedom to break the panel restrictions and draw the strip the way that he wanted to, within the correct proportions. And though a few of the newspapers cancelled his strip altogether, many kept the new format, and then a world of possibilities opened up. In the end, he fought knowing that there would be cancellations and size reductions which equaled less money in his pocket. But in sticking to his guns, he showed what was truly important to him: The ability to tell his stories his way.

Bill Watterson fought to be able to format his strips in a way to best tell the story

The other major battle Bill Watterson went through, was with his syndicate and their desire to license Calvin and Hobbes for merchandising. You see all those Garfield greeting cards, Snoopy T-Shirts, etc.? Ever notice that even in it’s prime, Calvin and Hobbes never had any stuffed animals, coffee mugs, or the like? I can imagine that it felt like a gold mine that Watterson’s syndicate was just sitting on. The strip was one of the most popular ones on the market, and I bet that they were just aching to slap a whole bunch of Calvin and Hobbes stickers on everything from pens to snow sleds and watch the cash pour in. But Bill Watterson resisted. Resisted against licensing. Resisted against merchandise. Resisted against making more money. I can’t pretend to know exactly every motive he would have, but in the 10th anniversary book of Calvin and Hobbes (Coincidentally this is where I sourced a lot of my information. Pick it up to learn more ), he mentioned his many arguments against licensing. Even though I am not a comic artist, this quote still rings in my head from time to time:

“When a cartoonist licenses his characters… The characters become ‘celebrities,’ endorsing companies and products, avoiding controversy, and saying whatever someone will pay them to say. At that point, the strip has no soul. With its integrity gone, a strip loses deeper significance.” – Bill Watterson “The Calvin and Hobbes Tenth Anniversary Book”

When I read the story about his fight against licensing, I was amazed. I’ve heard the word “artistic integrity” before, but this was the FIRST time I’ve seen it in practice. And at such a high cost. There was “trainloads of money”… millions at stake, and for the sake of the integrity of the world he created and the characters that inhabited it, Bill Watterson refused to cash the check. It’s easy to say money isn’t everything, but seeing it in practice on such a large scale… seeing someone act with the understanding that your greatest asset as an artist is the integrity that your work represents. And no dollar amount should ever pull you away from defending that…. It blew my mind. It still does today.

taken from It's a Magical World. The last strip ran Dec 31st 1995

15 years ago, due to the constant struggle against his syndicate, Watterson retired from writing Calvin and Hobbes. The door to that wonderful universe has been closed for years now, and from time to time, when I read the funnies, I get a little sad about it. Watterson created characters that I connected with on one level or another for years and years. I felt like I knew them, that I hung out with them every morning. They made me laugh, they made me think, and they let me retain my imagination well into my current years. I still crack open a Calvin and Hobbes book from time to time… sometimes when I’m sick, or laying around the house, or when I’m cleaning and happen to find one of the dusty tomes atop my bookshelf. It’s like flipping through a photo album from years ago. I turn the pages, the rest of the world stops… and I get to visit my old friends… a six year old boy and his tiger.

Bill Watterson has since sought the confines of privacy, declining all interviews and contact from the outside world. Knowing full well that he may never read this, I still want to extend my thanks to him for creating Calvin and Hobbes. It has sincerely changed my life for the better. As an artist and a human being.

<3 Mynt

That’s pretty much been my diet for the past 3 days. That cupcake on the floor isn’t real… It’s Mochi’s squeaky toy.

Anyways, Tomorrow (Thursday) November 19th. I’ll be live painting at the Blue Macaw (2565 Mission @22nd St, SF), for an event called Preconceived Notions: A winter fashion, music and art event. Doors go up at 9PM and closes down at 2AM. There’s an $8 cover charge so make sure you stop off at an ATM… cause if you’re anything like me, you don’t carry any cash . The show has an immense lineup (see flyer below). Including four of us from Individual Collective: Myself, Dyno, raw*ul & Albert Lam. Also in attendance are the homies from 3 eye elephant: J.Todd.O, Chris de Leon and Ichii Ohryin. The 7 of us make up only about half of the visual art field in attendance, so you know it’s gonna be nuts. Not only that, but there’ll be a fashion show, and live music as well. Peep the flyer!

I spent a lot of time today trying get a sketch together, but since I was still under the weather, I couldn’t come up with anything satisfactory. Sometimes, when the planets just won’t line up for you, you just gotta take a step back from whatever it is you’re working on and do something else for a while. That’s exactly what I did… I took a nap, watched some old ass anime, ate some soup, and pet my puppy… I came right back to the project and nailed down a great concept, a decent sketch, and a good color comp. All within about an hour. So now I’m even more excited about tomorrow’s event, especially since I’m at the tail end of my sickness. It’s lookin like all systems are a go. See you tomorrow!

<3 Mynt

Hey gang! Sorry about the lack of updates last week, but hopefully as you look around now, you’ll see that I’ve been a busy Mynt. I decided to “re-fresh” my little space a bit. Whatcha think? Hate it? Love it? On top of the color switch, I redesigned my logo (Check it out up top!) and finally redesigned and ordered a new set of business cards. Ok ok… It’s probably not as exciting to you as it is to me, but hey… presentation is key. “Don’t judge me.”

Also, if you peruse around my artwork section, you’ll see something that wasn’t there before. That’s right! ARTWORK in the “Artwork” section! What a freakin revelation! Ok ok… calm down. I’m excited too… Now I don’t feel so bad about sending people to my “Art” website with no ART displayed.

Anywho, take a look around, lemme know what you think, and make sure y’all come back soon!

<3 Mynt

I sold my Samus piece (pictured below) to a gentleman from San Francisco, who happened to see it in the window at the IC gallery. It was one of my favorites, so I was sad to see it go, but I’m always glad to share my art with others who would appreciate it. So if you’re reading this, thanks Rick! With all the excitement from OSS going on, I totally forgot that I wanted to get a picture with him, but in lieu of that, here’s a photo of the painting.

Also, here’s my latest update on Stump. Filled in more foliage, grass and background. Also did some minor detail work to the character in general. Like I said, this project was from a while ago, so the early stages were more about cleaning up the mistakes and refining the look, than making any drastic changes. Anyhoo… Enjoy! (Click to enlarge, of course!)

I’ve had the misfortune of attending two funerals within a span of a few weeks and amidst all the grieving and sadness, there’s a newfound respect for life. I think every human, at one time or another contemplates his or her own mortality. These recent deaths have reinstated the dialogue I sometimes have with myself with a renewed sense of urgency. As I pile on project after project and goal after goal, I can’t help but feel like this a drastic attempt to accomplish as much as possible in my infinitely small time on Earth. Not that I’m going through it, but maybe this is the true meaning behind midlife crisis… The struggle to leave a lasting legacy, something immortal, that will live on long after I’m gone. More marks made as proof of my existence.

As my horizons have grown, I’ve come to realize that the world is a huge immense place, with billions of people living their own lives, with their own beliefs, fears, hopes and dreams. Upon that realization, you realize how truly insignificant your part in this is. THAT was my realization that my life’s affect on a large scale was impossibly small, and that more important was the the impressions I make on a smaller scale and the lives I could affect that were directly in contact with my own. This was a few years ago. And I think it’s where most of us stand. We affect our own little worlds because that’s as far as we can reach. It’s kind of a microcosm of how we’d LIKE to affect the world. At least for those of us that think of it anyways.

I think, in some way, that by not being a spiritual person, I actually value life more than the pious. The religious folk I’ve had the pleasure of talking to, for the most part, believe in life after death. That there is a second life when they perish, which is what they are working towards. That is the life of true value for them. Their existence here is merely a means to that end, a test of their faith, to see that they gain access to whatever their religion promises. People such as myself, though, have it in their heads that this life is all that we get. When it’s done, it’s done, and that nothing will be left of us besides whatever memory we leave behind. When you realize that all you’re given is all you’ll get, I’d like to think that you value it more. Every second matters, not because its a chance to prove your faith, but because it’s a chance to prove you EXIST in the first place.

I think this is why I try to do so much, and try to affect every person I meet. The term “validating your existence” is usually taken with a negative connotation in humor. I believe that in fact, it is our true goal. Once we realize that our time is temporary, we realize the need for the memory of our existence to be preserved. That, in turn, is why the arts are necessary. Why creative endeavors are so important. And why we should never balk at a fellow human being seeking to validate their existence.

It’s the proof of our inner thoughts. It’s the proof that we were unique. It’s the proof we were here.

Here’s your cookie: