New spins on some older art

   The time came for me to create a webpage for myself: https://andrewmoir.art.  I also started an Instagram: https://www.instagram.com/andrew_w_moir/.  It pained me to deactivate my DeviantArt after 10+ years, but between the AI and the lewd junk, the real art became harder to find.  Maybe I'll try an ArtStation and see how that goes.

   I'm in the process of revamping older Adobe Illustrator pieces with Inkscape.  Inkscape needs a lot of development to perform anywhere near Illustrator, but the pricetag (free) had me hooked.

 

Rise of the Red Skull

I provided the pencil work, then my friend Tom inked over the pencils.  I scanned the inked artwork and colored it in free-to-download Gimp.

Finished art

Finished inks

Pencil layout

Great Awakening Caricatures

I created these caricatures of Jonathan Edwards and George Whitefield for a woman in my Bible study.  Edwards and Whitefield helped lead the 18th-century Great Awakening revival movement.

Most of the Jonathan Edwards reference pictures showed the same facial characteristics, making picking reference pictures easy.  Many of the George Whitefield pictures looked like different people.  I collected the most common depictions and hope I captured Whitefield's actual likeness.

I downloaded the free Inkscape vector illustration program a couple months ago.  Adobe won't re-authorize the programs I already own, and I don't want to rent my programs from the Cloud.  I have over 20 years of Adobe Illustrator ingrained in my head, and Inkscape shares almost nothing similar to Illustrator.  I'm getting it down though.  I created these in Inkscape.

1 Corinthians 10:31- So, whether you eat or drink, or whatever you do, do all to the glory of God.

Ephesians 5:14- ...Therefore it says, "Awake, O sleeper, and arise from the dead, and Christ will shine on you.

Portraits and House Pen & Ink Illustration

    I did this pen & ink illustration of my friends with their house. I used:

• 11x17 bristol vellum
• Higgins Eternal black ink
• Winsor & Newton #2 and #3 brushes
• Hunts crowquil 102 and 107
• Microns
• gum eraser
• Daler Rowney Bleed proof White
• X-acto knife

Finished Illustration

Framed and Mounted

Commissioned Stylized Caricatures

"The Bad-Joke Guys"

    A friend commissioned me to illustrate his idea of him and his two buddies, all in Christian ministry coming from different walks of life.

    I should have made this a vector illustration in Illustrator instead of a bitmap illustration in Photoshop with a Wacom.  Fixing mistakes or making changes took forever.  I used the Brush tool for most of the project.  I used the default black foreground and white background; I drew with the black, then pressed x to 'erase' with white.

    I used the Pen Tool to create the patches on the vest:

1. In the Brush Tool options, I set the Brush Master Diameter to two points
2. I used the Pen Tool to draw a path in the shape of the patch on the vest.
3. I right-clicked over the path to bring up the Stroke Path option
4. Clicking the Stroke Path option brings up the Stroke Path / Tool: option dropdown menu
5. From the dropdown menu, I selected Brush, and a 2 point brush line stroked the path

    I made the chains on the front of the vest in Illustrator with the Art Brush tool.  I imported the chains into Photoshop as Smart Objects, so I could resize them without losing resolution.  I made the background in Illustrator also.

    My friend liked the finished product.  He surprised his buddies with copies for each of them, and they liked it also.

Dreamcatcher Creatures

Dreamcatcher

    A co-worker commissioned me to Illustrate her dreamcatcher concept, incorporating different creatures she came to appreciate while studying biology. She wanted something like the minimalist bird and seahorse illustrations I’ve done. I didn't know how challenging this would turn out, but we both liked the results.

    She requested certain creatures: an eagle ray, a spotted salamander, a crane, a caddisfly or dragonfly (my choice), a rainbow trout, and a fathead minnow. For the dangling items, she suggested snail shells, shark teeth, and pinecones. I added feathers also since dreamcatchers usually feature those.

Caddisfly

Crane

Eagle Ray

Fathead Minnow

    Pattern Swatch: I created the eagle ray's dots, dots on the feathers hanging from the bottom, and the fathead minnow's scales with Pattern Swatches. The art you create will tile infinitely inside the shape you assign it to.

The dot pattern: Create a white dot on a black square then follow steps 4-5.  Take note of item 3.1.
The X pattern: See the diagram below, which shows how to create a seamless tiling pattern.

1. Create a square with no fill or border that the X will fit into
2. Create long, thin rectangles with pointed ends, like a pencil sharpened on both ends
3. Rotate the rectangles 45 degrees. The points will go into the corners of the box
1. You’ll see a space where the corners or edges of the swatches don’t connect if you don’t get it right
4. Open the Swatches palette, and drag and drop the shapes onto an open space on the palette to create a new swatch
1. This action will create a little icon of your new swatch, which you'll see at the end of the other swatches in the Swatch palette
5. Create the shapes that will receive the pattern 
6. Select the shape and click on the dot swatch or the X swatch, which will apply the pattern to the selected shapes

    You can then move/rotate/reflect/scale/shear the pattern inside the shape, without affecting the actual shape, by selecting Transform Pattern Tiles in the General Preferences, or when you right-click > Transform > Move (or Rotate/Reflect/Scale/Shear) and select Patterns in the Object section.

The X Pattern

Rainbow Trout

    Art Brush: For the rainbow trout, I made the fins detail—the row of ovals—, with an Art Brush.

1. Create a black oval
2. Shift + Alt-drag to make a copy of the oval
3. Scale down the second oval
4. Select both ovals and use the Blend command, with "5" in the Specified Steps window, to make a row of seven ovals that go from big to small.

You can’t make a brush out of blended objects, so:

1. Use the Expand option to turn the blend into seven separate selectable ovals
2. Use the Group command to group the seven ovals together
3. In the Brushes palette, select New Brush, then Art Brush
4. In the Art Brush options, select which direction the brush should go in when you draw the line and select the Proportional option under Size.
5. The Brushes palette will display the new brush at the end of the other brushes

From there you can either use the actual Brush tool or the Pen tool. 

• Select the new art brush and make a line, or make a line and select the art brush
• The art should follow the path, which you can modify the line, but not the actual art

Spotted Salamander

    Scatter Brush: I used a Scatter Brush for the scales on the trout and white dots on the spotted salamander. 

1. I made a simple quarter-moon shape for the scales, and a plain white dot for the salamander markings
2. I selected New Brush and then chose Scatter Brush
1. With the Pen Tool or Brush Tool, draw a line and experiment with all the Scatter Brush options to find out what they do.
3. I drew a Scatter Brush line on either side of the creature
4. I made a copy of the creature's outline, placing it on top of the two Scatter Brush lines 
5. I selected the outline and the two Scatter Brush lines
6. then used the Mask command to "mask out" any of the Scatter Brush effects that fell outside the creature’s outline.
7. You can continue to adjust the Scatter Brush lines inside the mask, the Scatter Brush options, or the mask itself.

        For the dotted feathers hanging at the bottom, I lowered the opacity 50% to make them slightly see-through with the Transparency palette.

😃

Adventure Time-Inspired Caricatures

Adventure Time-Inspired Caricatures

      I had a lot of fun with these two illustrations, based on two co-workers and influenced by an overdose of 10 seasons of Adventure Time.  It doesn't take much to inspire me to create, just the right impetus.

     Adventure Time uses a lot of flat colors, and simplistic, abstract shapes.  They use lighter colors to represent lit sides of the forms, and darker colors to represent shaded sides, which gives the characters and objects some dimension.  The art style -- with minimalistic, wiener-limbed characters and primitive-looking, detailed backgrounds -- has an original, iconic, and instantly recognizable look.  I had to work within the parameters of the style so the viewer would recognize the style I drew the illustration in.

     I started off with Post-It© drawings of the two gentlemen I had in mind.  I had just watched the first guy's prog-rock trio, Flock of Walri, in concert at a local venue.  The band members all wear matching pink flamingo shirts.

Post-It© Drawing

    I photographed the drawing with my phone and Blue-Toothed it to my computer.  I realized my co-worker plays right-handed, so I had to horizontally flip the picture.

     I opened the drawing in Adobe Illustrator and traced the outlines with the Pen Tool.  I selected the outlines and used Pathfinder / Add to Shape Area to combine all the outlines into one shape.  Then I manipulated the nodes to finish off the shapes.

    I struggled to get the three-tone shading on the dreadlocks right.  I used dark, medium, and light shades of gray.  I kept the light source in front of the face, which helped me place the highlights and shadows.

     The black outline of the dreads took the most time.  I set the Keyboard Increment to something very small, like .001 inches (Preferences / General / Keyboard Increment) so I could move the nodes in small increments with the Arrow Keys.

     I used shapes with Transparency for the blue shadows on the shirt so the lines and flamingos showed through.

     Making the illustration look Adventure Time style proved the hard part.  

 Adobe Illustrator CS2

 Pink Flamingo

Post-It© Drawing

    It took me a while to get the forms and shading of the cliffs to look how I wanted, using just four colors and a handful of flat, abstract shapes.  I found the right kind of off-kilter balance the show masters so well only after a lot of node poking.

    The background: I wanted a warm desert background, so I made the sky yellow and the other objects with colors tinged with yellow.  I used less contrast between colors, and no dark colors, to create atmospheric perspective and make objects appear further in the distance.

    The foreground: the figure and guitar have darker colors, some black, and more contrast between colors.  I used cooler complementary blues and greens to separate the foreground from the warm background.  The complimentary colors, contrast, and darks help the objects in the foreground look closer to the viewer.

    I used a right-hand light source, with the sun out of the scene to the right.  The objects have shadowed areas on the left side, and cast shadows fall onto objects behind lit objects.  A hint of blue behind the cliffs represents reflected light.

    I had to do some thinking and reworking to make the cracks in the desert ground look right.  I made the crack in the foreground bigger, and the other two smaller as they recede in the distance, giving the impression of depth and perspective.  The middle crack sits closer to the rear crack instead of exactly in between the top and bottom cracks, adding to the illusion.

    I muffed the clouds in the illustration below, which I didn't realize until after I posted it.  Adventure Time has rounded clouds.  The clouds below look more like flat Chuck Jones-style clouds.

Adobe Illustrator CS2

 Peavey Cirrus

Baby Elephant Illustration

     I created this baby elephant in Photoshop using my Wacom tablet.  I looked at references of African elephants since they have big ears, which I thought would look cute.  I started the file at 300 ppi around 8-1/2-11 inches.  The "inks" took the most time due to my nit-picky finessing, zooming in to shape every stroke.  I set the foreground color to Black, and the background color to White.  Using the Brush tool, hitting the "x" key to switch back and forth between black and white as I went.

     I had to blast through the coloring, as my deadline loomed nigh.  I turned the background with the inks into a layer and set it to Multiply.  I created a second layer, named it Color, and dragged it beneath the ink layer.  Then I locked the ink layer so I couldn't mess it up.

     Clicking the Color layer, I used one middle color for the body, basically a warm gray.  Then one shadow color for the bottom of the feet and the edges of the linework, and one highlight color opposite the shadow color.  I also used some white and light blue for the eyes, and some pink for the tongue.  I made the grass using the Smudge tool to pull the green up into the blue at the top of the green area, and pulling the blue up into the green area at the bottom.

Inks

Color

     I opened my signature logo file in Illustrator, changed the date, and copied from Illustrator and pasted into the Photoshop file as a Smart Object.  I resized my logo by manipulating the bounding box, and placed the logo where I wanted. :)

Photoshop CS2

TeeHollo Logo Treatments

     A Miami art director commissioned me to create different logo ideas for a site selling t-shirts.  She wanted a t-shirt as the "T" in "TeeHollo.

Graphic Gradients

Hibiscus Design

      I found references online for the hibiscus.  I then created a simplified pistil, flower, and leaf.  I dragged and dropped the pistil into the Brushes Palette.  This converts the art into an adjustable "brush," or art fixed onto an adjustable path that you draw with the Brush Tool.  I added the pistil to the flower, bent the shape how I wanted, then grouped them together.  I dragged and dropped the flower/pistil and leaf into separate Brushes Palette slots.  I then used the Brush Tool to make flowers and leaves along single adjustable paths.  I added the stems afterward.

A Few New Things

Blog Logo

    A work associate commissioned me to create a logo for his friend's blog,  featuring church-themed information for kids.  I drew the monarch and viceroy butterflies In Adobe Illustrator from photos I'd taken.

Bluejay, Charlie Harper, Exploring the Ruins

      I'm happy to feature my latest Adobe Illustrator CS2 illustration, inspired by master illustrator Charley Harper.  I found his book, "An Illustrated Life" by Todd Oldham, at a local Half-Price Book Store.  A several-page interview, then chock full of minimalistic, basic shape happiness. :)

"Charley Harper, an Illustrated Life" by Todd Oldham

Bluejay

     I started with a photograph I'd taken with my trusty Canon Rebel XTi.  The challenge came from wanting to stay true to the original photo, preserving shapes, colors, and details, while rendering everything in basic shapes.

Bluejay, Canon Rebel xTI

     The bold, simplistic shapes and coloring of the bluejay's head/face lent themselves to rendering in straight lines and simple curves.
     The colorful pattern on the bluejay's back went through a few iterations before I finally achieved the simplified, balanced symmetry.

At one point, still trying to simplify

     A vertical centerline runs from the left edge of the tail and through the middle of the body.  I centered the pattern--evenly-spaced triangles and arches--on the vertical centerline.
     All the up-and-down lines comprising the tail taper to the centerline at the top middle of the arch of the pattern.
     The tree limbs consist of repeating arches and "V"s.  The blue triangles and rectangle represent the sky.

     I kept the colors to a somewhat limited palette.

Recent Art

    I've added some new art and some revamped art.  I'm still attempting to capture a mid-century illustration feel, which has inspired me for many years.  It made a big comeback somewhere in the late '90s or early Y2K.  I just bought a big book about Charlie Harper and his art.  His amazing work back in the day inspires me to create art in the same vein.

    "Red Bird."  I used a limited number of minimal shapes while trying to retain the character and shapes of the bird.  I used a spattering airbrush texture to create the gritty effect seen where lights and shadows meet.  This adds some interest and creates a more traditional painted look.

Adobe Illustrator