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Showing posts with label vector. Show all posts
Showing posts with label vector. Show all posts

Vect-o-Grunge Illustrations

As a total spur-of-the-moment, just-for-fun experiment, I took a whack at rendering Lisbeth Salander and Mikael Blomkvist, the lead characters from the recent "The Girl With the Dragon Tattoo" film.

I found a few photo references for each character, and just started laying down basic shapes in Freehand. I challenged myself to keep the shapes as primitive as possible, to see if I could still render a recognizable likeness. I kept the images very formal, so the face structures are completely symmetrical.

At first, Lisbeth's eyes and nose ring were round, but they stood out as the only curved shapes, so I went back and replaced them with flat shapes later. Restricting the shapes this way seemed to work - it kept the style cohesive.

I kept the colors limited, and allowed only one level of highlight and shadow for each colored surface. The backgrounds were pulled from the eye colors.

Detail - before and after grunge.
























When the images were finished, I pulled the vector shapes into Photoshop (keeping them as Smart Objects, so they could be resized - even larger - without any quality loss) and added some texture. The grunge layers were free high-res files that I found online. The layer modes were set to Multiply. Lisbeth's  texture looked perfect as it was (it had a nice natural gradation - darker at the edges and lighter in the middle), but Mikael's needed some erasing in the center, so as not to obscure his face too much.

And that's it. Here are the final pieces:




























UPDATE: It looks like the style is sticking around. I've launched a mini-site showcasing these illustrations:
Vect-o-Grunge













































































































































































































































The Camp Out - A Jabloo Adventure

I've just finished writing and illustrating a storybook using my Jabloo characters. The story is aimed at kids 3 to 6. You can read The Camp Out online.




I created the Jabloo gang back in 2006, and this was the first story I conceived for them. There's something about the camping out in the woods that's always evoked the idea of creativity for me - maybe it has something to do with telling stories around the campfire, though I don't think I've ever done that.

Since each of the Jabloo characters represents a different creative art (filmmaking, music, acting, writing, and visual art), The Camp Out is about them creating a piece of art - in this case, a monster movie. Yubi, with his video camera, is at the center of this creation, but each of the other characters contributes to the movie as well.

The story was designed as an "adventure" - meaning, it's not an introduction to the characters, so we jump right into their camping excursion. Kind of like an episode of a continuing television series rather than a one-shot, stand-alone show.

I worked backwards with the layout of the book, using Shutterfly's Photo Book sizes as the basis for my design. I went with a 7x9" book, so I opened up Freehand (the now-outdated piece of vector creation software that I used to create Jabloo - and still use daily) and set up a 7x9" document with a bleed area.

It's nice when the hard work is already done!


















Much of Jabloo was already created - the characters with different hand and mouth positions, fonts, colors, even many of the backgrounds in The Camp Out (for the as-yet-to-launch online, interactive version of the story) so I was able to move into the book's creation quickly. I'd spent months analyzing the layouts of my son's books (which contained every imaginable style of layout) and decided on a full-page image every page (with a few exceptions - the first page and a two-page spread), and a limit of two sentences of text contained within a white arc at the bottom of each page.

Dig those crazy vectors!











I put the story together in a fairly haphazard way - writing a few pages, putting the illustrations together (which could take hours or days - even with many of the elements already created), adding a few more pages, changing the sequencing. The story itself is 24 pages, with a few additional non-story pages at the front and back.

I wrestled a bit with how much story detail to include - especially when it came to the movie the characters are putting together. I wound up showing only an indication of the story they were telling. The two-sentence limit on each page was a good natural limit, forcing me to only hint at the monster movie. The reader's imagination adds the details. I think that works nicely. It's a story about creating art, not about the creation itself.

Since Freehand is no longer a current program, and copying/pasting into Photoshop isn't viable (gradients get messed up, and there are other issues), I went through a tedious process of maximizing the Freehand pages on my 30" monitor, grabbing screenshots and shrinking them to get smaller, high-resolution images for printing. Of course, after doing this I found plenty of small things that needed revising or correcting, so I had to repeat the process for many pages. It was still a worthwhile compromise for being able to work with the beauty and elegance of Freehand.

















I had a few hiccups when I began assembling the book in Shutterfly. When I was writing and laying out the book, I didn't set the pages up as two-pages spreads, so some of the images (especially the backgrounds) looked awkward when placed side-by-side. For example, some of the hills in the background seemed to run into each other, making the pages seem like they were meant as two-page spreads (that didn't quite align properly) - but with the same characters on each page. So adjustments had to be made to the backgrounds as well.



The next stage was assembling a readable version of the book online. I could have gone with a more straightforward gallery, but the effect of side-by-side pages would have been lost. I found a Picasa-based template online and, after plenty of technical issues, got the online version up and working.

The final printed book from Shutterfly looked great. The only minor drawbacks are a white area on the left of the cover (presumably the digital printing would flake off where it bends back) and the fact that you can't print a back cover (unless I missed that option), so the back of the book is plain white with a UPC code on it. But the printing itself looked great, as I expected from previous Shutterfly orders. And as much as I consider myself a digital kind of guy, I have to admit a piece like this feels different when you can hold it in your hands.

























Read The Camp Out now - preferably with a kid or two.

The Jim Henson Company Proposed Website Redesign



Here's something weird - about a year ago, I visited the Jim Henson Company website, and I was not pleased with what I saw. I'll get more in-depth on Jim in the future, but suffice it to say, he's a a hero of mine - maybe the only person I look up to or idolize, and not just as an artist, but as a human being. So when I saw the Henson.com (it's since been redesigned), I just didn't feel it was worthy of the man or his legacy.

The layout back then was simple, but inelegant, and broken in many places - links didn't work and images were missing. And for some reason, whoever put the site together (in previous and current versions) likes using Jim's "Henson" signature truncated at the top of the page. I do not approve.

The whole site is very 90's - it's not elastic in its layout - the content sits in one narrow area in the center of the page, no matter how wide the window is. The Flash elements have no smooth transitions (something Flash is ideal for), and I swear the frame rate on the Flash elements is too low (probably at the default of 12 fps) - an error that screams amateur. I'm not usually so critical of others' work, but this is Jim Henson here - maybe no site could ever be good enough for me, but I know it could be better than this.

Archived versions of Henson.com


Click image for larger view.
Page Two Concept | Page Three Concept

So I did something a little wacky: I created some static layouts for a redesign, found the contact information for the company's Marketing Manager, and sent him links to my work with a short e-mail saying that I'm a designer, an admirer of Jim Henson, and I'd like to improve the site.

I kept the layout very simple, leaving the full Jim Henson signature intact and (after finding a vector version of the official Kermit image/logo) extracting the true Kermit color for the background. I found a few images and treated them with the color as well.

And... I never heard back from them. Or not "back" - I just never heard from them. The current redesign of the site went up a few months later - probably with no connection to my e-mail or proposal - as much as I'd like to believe I shamed them into reworking the website, I'll assume they were already planning the update. It was a step or two in the right direction, but still a long way from what a Jim Henson website could and (in my opinion) should be.

I believe this is the first time I ever did this - proposed a redesign for a company (especially a big company) out of a combination of disappointment at the current site and enthusiasm for what it could be. I doubt I'll ever try something like this again - not because it didn't work out, but because there's really only one Jim Henson, after all.

Rosies


Illustration parody of Rosie the Riveter. Click for larger image.

Once more, an atypical project - but maybe since I've posted so many of these "oddball" projects that I don't think of as being typical, I have to acknowledge that the weird ones come along more often than I think or remember. I'm coming to terms with it.

An agency approached me (that sounds funny - like they snuck up on me or something) and asked if I could help them create a parody of the famous WWII Rosie the Riveter illustration, which you've certainly seen, but just in case you haven't - here it is...



Now, the agency took a stab at it on their own, and they didn't do a bad job, in my opinion - I think this could have passed as the final product...



...but they just didn't like it enough to present it to the client - who, as you may have figured out by the logo, owns a tank cleaning business named Rosies - hence the poster as the inspiration source. It wasn't a far reach in terms of parody, but it was appropriate. So I selected a subdued color palette and started rendering in Freehand, using my Wacom tablet.


Super duper closeup detail.

The funny thing is, I didn't have much direction other than to follow than the comp the agency provided and a few rounds of feedback on my work - which was fine, but as I look at it now, their version is a burly man with ruddy skin, his eyes mysteriously hidden by the hat like the Marlboro Man. My version looks like Joel Grey in Remo Williams: The Adventure Begins (and why did the adventure never continue, by the way? I loved that movie when I was a teenager), but with huge biceps. I asked if I should avoid linework, to make this vector version look more like the original painting, but the agency and client wanted line - so they got line, and a chunky line at that.

So the agency liked the piece, and the client liked it, too. But the real question is: would Joel Grey like it? I hope so.

MMC Lifestyle Coaching


This logo project came from a woman who had started her own lifestyle coaching consultancy. You want to improve your career, your social skills, your love life? You call her, and she helps you create a plan, then works with you over the course of several weeks or months to execute that plan. At least she did - it looks like the website is no longer live.

My client wanted her business's logo to show the qualities of strength, growth, power and potential (makes sense, right?). The company name, as you may have guessed, was based on her initials. I did some sketching and type work in Freehand, and came up with five original concepts for her:




This first one was a little impractical - that hard edge on the right, where the "M" and "C" hit, creates a nice opportunity to work with the negative space on other uses (business cards, letterhead) but without something to the right to give it balance, it looked too heavy on the right - and with something to the right, like the "Lifestyle Coaching" descriptor, it was too linear and would take up too much space or require it to be significantly shrunk to be used.




This second option came from some sketching. I sketched a kite, then drew two lines symbolizing gusts of wind lifting it up (get it? potential and growth?). The gusts were initially a second color and they looked harsh and heavy (I'm pretty sure wind is not supposed to be heavy) so instead I cut them out of the kite shape, adding little serify-shapes at the kite's edges to give the gusts a little more emphasis. The client liked it - she also pointed it, it looked like three cats. Nothing wrong with that, though.




This third concept was a pretty straightforward representation of power - probably a bit too straightforward, and either the client or I (can't remember), after reviewing it, felt it looked too masculine. It probably needed more subtlety, too.




This one was meant to show growth - I was thinking of Best, that chain of stores that went out of business about ten years ago. It's nearly impossible to find a logo - googling "best" plus "retail" or "store" just brings up lots of "Best Buy" images. But I remember seeing that logo when I was younger and thinking it was weird - each letter was a little bigger than the next. Then I read an interview with the designer, who said that was meant to show the quality of "best" - the "T" was the largest, and therefore (I assume) the best letter in the logo. Never noticed that before. I think it worked better here, with the two M's - the second M was the improved version of the first. That kind of left the C stranded, though - and the colors wound up being too feminine. I could have changed the color scheme, but that wasn't necessary because the client liked this concept most of all:



That doorway in the space between the serifs won her over, and this is the logo she chose. I was cool with it - I think it represented her company best (ha ha). Her only request was to darken the blue, which I did (see the top of the post). And then we were off to the races (never spoke or typed that phrase before - it feels weird).

After we finalized the logo, she applied it to the website (which I didn't design), and I developed business cards and a letterhead template for her. Here's the card:



Such a formal logo seems to require, to me at least, a centered treatment. Or, at least, you can't go wrong with centering. As I always do, I provided her with logo files of different file formats, resolutions, and color styles - a two-color version and an all-black version. I believe she used the all-black version for t-shirt embroidery, though she had it stitched in white on blue shirts, which looked pretty sweet.

When I opened my Zazzle store a year ago, I started looking at all of these unused logo options I'd created over the years. Since the client only pays for overall development and the buyout of the final logo, but not the unused options, I'm free to use these as I please - and I have. The type-based logos obviously are too specific to work, but the image-dependent concepts were cannibalized for business card templates and other products.

I think Zazzle's strongest feature is its ability to allow customization to its products through a very user-friendly interface. And while that feature works well on t-shirts, hats, bags, and other promo-type products, I find it's most useful on business card templates.

The way it works is, store owners like me set up card templates. I upload, size and position the image, then set up the lines of text I'd like to include. The typeface, color, size, position of the text are defined by me as well. Finally, the templates are tagged with keywords like "growth", "strength", "potential" - words appropriate to the design that help potential customers find a template that suits their needs.

Once a customer finds a card template they like, they fill in their information in a form field and the thumbnail of the card is updated on the fly. This is very helpful - the customer instantly sees exactly how their final card will look. If it's allowed by the store owner, they can delete text fields, move and resize the logo, pick a different typeface and color - but my experience is, most of the users trust the design and use it pretty much as is. If they were interested in designing their own card, they'd probably have done that instead. Maybe they even tried to do so in Word - if they did, my guess is they ran away screaming.

There's an ethical debate in the design community about these kinds of templates. Some designers say that providing custmoers with pre-made options that they can buy in (for example) 100-pack for as little as $20 or $30 plus shipping (the price depends on the percentage the store owner sets - I set mine at 30%, in case you're curious) impacts the need for design services. Horse pucky, I say - I can virtually guarantee you that anyone paying such a tiny amount for a card with a pre-made logo is not going to consider spending upwards of $2000 for a full identity design. It's inconceiveable (just watched The Princess Bride last week - couldn't help it).

As an example, my biggest seller by far is a fitness logo targeted at personal trainers - sometimes I sell a couple batches per day. I very much doubt that a personal trainer working out of a gym with a handful of clients, is going to want or need to contract the services of a designer for their logo and identity system. Maybe a few superstar trainers will go that route, or those expanding their services - but for the most part, the people who use these templates are happy with something that looks nice and represents them well.

The downside for these customers is that anyone else in the world - even their competitor in the same city - could be using that same template. And they don't have the ability or right to use the logo anywhere on their own - they're only purchasing the finished cards - nothing more. If they were to scan the card and use the logo? Well, for one it would look horrible. And it would also be a legal violation of my rights. That would be bad - I hope it never happens, though I doubt I'd find out about it if it did.

And not to toot my own horn, but I haven't seen anyone else use a Print On-Demand site to create a full line of customizable products with the same images, as I've done. Maybe I just haven't run across them yet, but I do a lot of browsing on Zazzle. Each of the logos in my Business Products product line is available on t-shirts, baseball caps, canvas bags, mugs, keychains, buttons, mousepads (do people ever get tired of giving away mousepads?), and the card templates themselves. This way, a small business owner can get a few customized shirts for themselves and their employees (if they have them), or they can buy the other items for office use or for promotional giveaways. It works out nicely - I've spent many hours setting up all of those templates, but now they're available for purchase - and I have sold quite a few. Passive income is nice.

So here are two of the unused designs from this project, transformed into business card templates. At this point, I've sold a few of the lightning bolt template, but none of the kite. Maybe it's too abstract for people, even though I mention the wind gusts in the item description. Perhaps I should market it to cat lovers instead.


Kite/Wind Business Card Template
on Zazzle


Lightning Bolt Business Card Template
on Zazzle