Continuing with this week's inspiration theme, I'm loving this Grunge Brush tutorial from design.tutsplus.com. Grunge brushes are a great way to bring dimension into your CAD art work, creating a more painterly and less "flat" look.
tutsplus.com is a great resource of free tutorials. I've found that there's nothing like a tutorial for revealing the potential in the complicated CAD programs I sometimes simultaneously love and hate.
We think Katja Ollendorff's installment of The Sketch Chronicles is super inspiring!
Leslie has more than 20 years experience in styling, manufacturing and product development from
conceptual design through production in both residential and commercial sectors. Her expertise in
woven fabrics includes engineering, manufacturing and testing. Clients included Steelcase, Calvin
Klein, Calvert Group and Pottery Barn, as well as Levi Strauss. In 1997 Leslie founded
TANGLEBLUE a product design and development consultancy in San Francisco.
Leslie trained as a weaver, having been introduced to textiles as an art medium. A perpetual
student, she studied natural dye under the Goblein Master dyer Jean Dufour and workshopped
with notable fiber artists and designers such as Jack Lenor Larsen and Louise Lemieux Berube.
She received her MFA from Cranbrook Academy of Art under Gerhardt Knodel, and was a Peace
Corp Volunteer in El Salvador, Central America working with the textile cottage industry. Her studio
is in San Francisco on Hunters Point Shipyard, where she shows annually during Open Studios.
Currently she is developing product for specialty shops and continues work with mills and on her
loom. Her designs and consultancy projects include Jacquard woven fabric and tapestry. She is a
trainer for Pointcarré software, a premiere textile design and engineering software, one of their
Join us at our next meeting where Leslie Terzian Markoff will demo Pointcarré textile software. We first encountered Pointcarré at Surtex, and were intrigued by it's potential. Leslie will demonstrate the software's capabilities to create repeats, colorways, and ability to visualize what the print will look like on different surfaces. This promises to be a fascinating evening.
"For 25 years, Pointcarré Textile Software provides a complete package for Printing, Knitting and Weaving aimed at Fashion, Home Furnishing and Technical Industry."
I use a small sketchbook because it's easier to carry it around. I usually draw single motifs, that way I can make different layouts using the same motifs. Each page of my sketchbook gets full, sometimes the drawings overlap each other. Sometimes I hand paint my motifs or I color them directly in the computer. Ether way, the motifs always get manipulated in the computer to create a final design.
The SPDG Featured Member program promotes one member's surface pattern design work, displaying it throughout our website, and in the header along with a credit and link to his/her online portfolio or personal web site. As featured member, you will also have a feature page on the site.
To submit your name for the drawing, please reply in the comments section of this blog post by Wednesday, October 1, 2:00 PM Pacific Standard Time. We will randomly select a name from the list of entries, and notify the lucky by email.
In order to qualify for this promotion, you must be a member of SPDG. If selected, you will be contacted with further instructions for providing images and your interview responses for our blog. Please do not apply if you have been the Featured Member in the past twelve months; your turn will come around again!
Now that Summer is over and we're all resuming our normal lives again, please enter by commenting on THIS post!
Being the SPDG Featured Member is a wonderful way to gain exposure for your work.
Let us help promote you!
For sketching I mostly just use loose pieces of computer paper and a pencil on a clipboard. I have a tendency to make the sketches really tiny then fill up all the remaining blank spaces on the page (front and back) with various sketches for other things. The fox and spy dog sketches I’m including were done within a few days of each other so they were on the same piece and side of paper.
When I’m making characters or icons with a theme, I usually have a really strong idea of the design I want to do and sketch all the pieces out at once. When I’m doing botanicals or a geometric based idea, I try to be more free with the shapes and placement while sketching and I will fill up more of the page. There are times when I only have the beginnings of the idea which I take into Illustrator and experiment with. Or I make a design and once it’s in Illustrator I realize I don’t like it as much as I thought I did and then mess around with it there.
I also keep a small notebook in my bag in case I need to write a note or draw a quick shape to remind myself of an idea later, but I don’t do any real sketching in it.
I don’t use any of my actual sketches in my artwork, they’re really just there as a map of what I want to do and to make sure I know exactly how I plan to draw a certain object. After I sketch on paper, I re-draw everything in Illustrator using a Wacom tablet. It’s actually a lot quicker for me to just re-draw something than to scan and trace. I’ve also created a custom set of brushes based on my hand done drawings that help expedite this process.
Once I have my shapes I smooth out the edges, adjust anchor points, and pick a color palette. Sometimes the color palette is a bigger inspiration for the direction of what I’m doing and I will pick that out before I even start sketching. After the drawing is done and the colors are set in Illustrator, I move everything over to Photoshop and start painting to add texture and shading (also done with custom brushes) . I sometimes change the colors once I’m in Photoshop but I try to get that part out of the way in Illustrator. The painting step isn’t always necessary since my drawings could be considered finished in Illustrator, but I like the dimension a painted texture can add.
I do occasionally paint with watercolors or use Faber Castel markers but I almost never use any of these scans in my finished work. At least not at the moment anyway. They’re usually just for fun or sketching purposes.
Today we bring you the second part of our two part article about Bridgeman Studio. (Don't miss Part 1 of this series.) We met manager Lucy Innes Williams at Surtex, and recently added Bridgeman Studio to our Resources page. We invited three Bridgeman Studio artists to give us their thoughts on the following questions.
Q: Tell us how working with Bridgeman Studio has helped you improve your exposure as an artist?
Q: How has the relationship with Bridgeman Studio affected your work with other clients outside of the studio?
Q: Bridgeman Images has a vast archive of fine art and photographic images. How did the Bridgeman Studio enterprise grow out of that?
Lucy Innes Williams: Bridgeman Images was founded in the 1970s to represent museums, collections and artists for image licensing to an editorial market. Over the years, the archive has grown to over one million images to encompass advertising, television, product and design markets. We have a fantastic footage collection for licensing and are proud to offer a comprehensive rights-managed service for our in-copyright artists and illustrators.
Over the last few years we have seen great growth in our product sector. This relates specifically to licensing for wall décor, textiles, greetings cards and printed packaging. We have expanded our sales team to reflect this and have developed Bridgeman Studio to enhance our portfolio of imagery for use across this market.
Bridgeman Studio was born out of a desire to really work with a commercially-minded, digitally-savvy generation of studio artists, illustrators and designers. We look for people who are enthused about licensing. They are keen to develop their portfolio and are seeking to monetise their practice by sharing their work through new creative partnerships, exclusive commission opportunities and developing their international presence.
Q: How do you see the relationship growing between Bridgeman Studio, the design/illustrator community, and the clients who license work through the studio?
LIW: We have a personal relationship with every person who joins Bridgeman Studio in addition to having designed an online platform accessible from anywhere in the world. Subscribers can access our customised analytics tool which allows detailed analysis of sales, light-boxed images and most popular page views. This is just one example of the kind of insight we provide illustrators, with a view to helping develop an ever more-popular body of work that we can successfully license for this community. We are actively searching for new illustrators who can produce a portfolio of bold, colourful and on-trend single illustrations, as well as graphic patterns and print-repeats than can be applied to a wide variety of different product usages.
Q: Is there a seasonal trend when clients are most likely to look for certain types of art?
LIW: When it comes to illustrators submitting their images to us, we curate these carefully. At the point of selecting an illustrator to join us, we consider whether we have clients for their work, as well as bearing in mind seasonality, forthcoming trends, as well as where our growing strengths are. We know that certain regions of the world are more conservative or more liberal, and so we will tailor this content accordingly.
In terms of specific seasonal trends for the product sector, the sales team will begin licensing festive imagery months in advance of each holiday season. We license a lot of illustration for Christmas, Hannukah or Easter, but not all of these are overtly religious in tone. Clients come to Bridgeman Studio because they are looking for a new interpretation of a traditional theme.
It’s fascinating to see how broadly an image can be interpreted and quite often, it is an image which conveys a general sentiment such as love, happiness or freedom which will license over and over. If a client can’t find the image they’re looking we can commission new content.
I often ask illustrators to think about their work being used for calendars, which are very popular if they can demonstrate a consistent style of illustration. Twelve or twenty four images to suit each month of the year are enduringly popular!
Q: Some textile design programs are aimed at providing students with the skills to freelance, but don’t encourage individual expression. (For an example of this you can look at my designer profile. As a fairly new designer I can knock out a presentable ikat, or paisley, but am still discovering my personal style.) Would you encourage a designer like myself to submit designs to your site, even as I work toward finding my own style?
LIW: In terms of a developing style, we absolutely encourage illustrators to reflect their own development and taste. Bridgeman Studio doesn’t have a house style and we specifically curate a range of different illustrators’ styles to reflect the diversity of the clients we work with. A subscriber can upload up to 100 images a year and so there is plenty of room for growth and collections of work.
To highlight this, we have recently launched a Student Subscription for Bridgeman Studio. At half the price of a regular subscription, young illustrators are encouraged to join, develop their understanding of licensing and benefit from our 42 years of copyright experience and negotiation on behalf of our members. We’ll take care of the licensing while you continue to create amazing images!
In part 2 of this article we hear from three Bridgeman Studio artists.
Are you bringing your "problem children" to the meeting tonight? Learning from each other is one of the best features and benefits of belonging to the Guild!