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.

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.

😃

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.

Commissioned Cartoon Concept

    A friend hired me to illustrate this project for their customer who had an inside joke they wanted to be printed on t-shirts.
    I sketched the rats while sitting in a dentist's lobby waiting for a friend. I scanned the rats into Photoshop, opened the file in Illustrator, and did all the blacks as vector art. 😁

Blue Whales and Neoplasticism

    I printed and hung my bird illustrations, then started thinking about what to create next.  I chose humpback whales since I haven't done many underwater creatures.  The whales have a distinctive look, with different shapes and textures I could play with.

A Couple New Illustrations

 A caricature of some friends we visited for Christmas.

A stylized mourning dove.

Anniversary Illustration

Eva and Shadow

     For an anniversary present for his wife, my friend commissioned me to illustrate a picture of his wife and their recently deceased kitty.  For reference he sent me a phone cam pic he just happened to catch when the moment happened.
     I opened the jpg in Adobe Photoshop, and YIKES!  Very small and pixelated! (He warned me of the pic quality ahead of time).  Pretty much a small, dark, fuzzy 72 ppi jpg.  I forget the original dimensions, but my friend had asked for an 8.5" x 11" illustration.  Using Photoshop's Image Size functions (Alt-Ctrl-i) I increased the dimensions as far as I could without losing too much detail so I could work on top of the photo.  I could only increase it to about 8" x 10".
     Since I would print the final result, I set the Image Mode to CMYK (Alt-i-m-c).
     Dark rooms and phone cam pics without a flash don't mix, and so the photo had muddy colors and hard-to-see details.  Adding new Adjustment Layers (Alt-l-a) I adjusted the Levels and Hue/Saturation until I had a brighter, clearer photo.
     I created four layers:
--a background layer which I filled with white (Alt-Delete fills the layer with the foreground color, Ctrl-Delete  fills the layer with the background color),
--the photo layer,
--a color layer I would use to paint under the inks,
--and the inks layer.
     The inks layer: switching between my Wacom Intuos 4 and the mouse, I went for a kind of pen and ink graphic design stylization that kind of comes naturally to me, .  Using lines, dots, simplified shapes, and some Franklin Booth-inspired hatching, I drew over the photo.  I made some of the contours more geometric, and worked to capture the essence of the details with minimal shapes and strokes.  With the white background layer I could make the photo layer invisible (clicking the eye graphic next to the photo layer in the Layer Window) to see just the ink layer and check my work.

Inks Layer

 

     Painting in the color layer underneath the inks layer, I used the Eyedropper tool to pick colors from the photo layer.  I continued rendering with geometric shapes.  I kept the curtains, pillow, and shirt colors flat to keep the focus on the cat and woman's face.

 Color Layer

Detail

 
     I printed the illustration at the local Fedex/Kinko's and sent it off so it would get to my friend in time for their anniversary.  Afterward they both told me they like it and will get it framed and hung as soon as possible. :)

Adobe Photoshop CS2

House Sparrow

     I captured a rather handsome house sparrow with my trusty dusty Canon Rebel XTi.  Opening the photo in Adobe Illustrator I originally aimed for a much more simplistic, cartoony bird to match other bird illustrations I've done...
Cardinal
Space
...however, this illustration grew into a contemporary retro piece.
     Sticking with simple shapes (circles, squares, lines, triangles) I decided to stay faithful to my feathered fellow's anatomy while rendering with minimal description.  Geometric, but finessed, and daintily detailed just enough to make my sparrow recognizable and interesting. :)
Adobe Illustrator CS2

Jimmy Freckles, the Asteroid Boy--Character Design meme

Line art: drawn and inked in my trusty dusty sketchbook, scanned into Photoshop, cleaned up and detailed.

 

Background turned into a layer and turned to Multiply.  Created another layer and placed underneath to add color.  Created the title in Illustrator and copied/pasted into Photoshop.

fb Character Design page meme: The Jukeboxer

Adobe Illustrator CS2

Illustration Friday meme: Space!

 Songbird

Bluebird

I made sure to leave a lot of space around the birds so they'd stand out. :)
Just working with simple shapes and colors.  Ever see any of the Ed Emberley drawing books?  As a kid I loved how he could create anything from a horse to a pirate ship with just the simplest shapes. :D

Adobe Illustrator CS2

Community Passages Logo Concept

The company I work for, Community Passages, is a subsidiary of Resources for Human Development.  Community Passages provides assistance to mentally and physically challenged individuals.  The big wigs decided to host a competition for Community Passages employees to create a company logo.  Obviously a challenge right up my alley, I designed this logo:  

The C and P initials make up the outer heart shape;
The heart stands for the heart we have for our special needs individuals we work with, and also our heart for making "passages" for them into their communities;
One side of the middle "split" represents our individuals; the other side the community;
The clasped hands represent integration between our individuals and community;
The hands and opposing colors crossing over the middle represent crossing over barriers of separation between our individuals and community;
The orange and purple are color compliments, both of which are generally considered "passionate" colors.

While a little too small to be seen in the logo, in the hands I attempted to add some extra dimension, creating little spaces in between shapes to make an illusion of some shapes in front/back of others.  I've done this in other illustrations like the Armor of God and Kitty Cop, trying to get something more 3D from flat 2D line art.

I used my phone cam to take a photo of my wife's and my hand clasped for reference.  I had to enlarge her hand since it's a good bit smaller than mine. ;)

I could probably execute my ideas behind this logo a hundred different ways (alright, maybe at least a dozen or two).  I'll simplify the hands at some point to allow more readability when downsized. :)

Big Boss Man

For Illustration Friday's Unbalanced. Usually the old man gets a little crazy around mid-week, but Nerble takes it in stride.
Adobe Illustrator CS2
Adobe Illustrator /PhotoshopWeathered version: I exported the Illustrator file as a tiff, then opened it in Photoshop. I opened a photo I'd taken of a cracked asphalt sidewalk, then dragged and dropped it onto my illustration. I blended the texture into the main illustration using the Multiply filter, then manipulated the transparency until the illustration still dominated but the texture showed through just enough.
I changed the background into a layer, then added a layer underneath the illustration layer, and turned the color to brown. I erased some of the illustration layer to let the brown background show through. Then I created some additional distress drawing cracks, highlights and shadows the Dodge and Burn tools. :)

Sweating the Small Stuff

I did this piece as a flyer for a Sunday morning Bible study I led. Unfortunately, I didn't get it to the printer fast enough (Yet another lame attempt to fit the Illustration Friday meme. This week it's Fast).
Adobe Illustrator CS2
I really enjoy the look of super-tight comic book inking, say, along the lines of The Art of Comic Book Inking volumes 1 and 2 by Gary Martin. Some of the examples in those books stagger my mind as far as tightness, getting the perfect balance of light and dark, and making all the lines work so the image comes alive, not just putting down lines however you feel like it. Another awesome book about inking is Rendering in Pen and Ink by Arthur L. Guptill; a big tome of a book that's worth every hour to read it.

The figure came first; the background and text came later. First I sketched the figure in pencil, scanned it into Illustrator, then traced it with the pen tool. I did all the blacks first, working out shadows and forms until it stood alone as a solid black and white illustration. I then started applying flat colors: 4 shades for the armor, 3 shades for the gold-lighted glass (I didn't know how many layers of color I would use originally, that's just how it worked out).

All the little tapered lines are, for the most part, blended triangles, shaped to fit whatever form I needed. I'm not a big fan of outlines. I do wind up using them here and there, but I'm trying to get out of the habit. I try to think more in terms of light, shadow, and dimension, trying to figure out how to make 2D pop out like 3D. :)

Final Approved Blaze Logo

T-shirt front and back designs.

Mock-up of t-shirt application:
Adobe Illustrator CS2

Freelance t-shirt designs

Here are a few ideas I put together for a t-shirt for our church.

Close-up of t-shirt back design
There's a big sign out in front of the church which (as far as I can reckon) uses Times New Roman for the "Glenshaw" and Arial for the "Alliance Church", which I used for my version. I then used a few different offset path thicknesses to achieve the 3D effect for the logo.
I appropriated the photo of the church from their website and traced it in Illustrator.
The background came via the scribble stylize effect. Front and back
Church name logo ideas
The logo with all the symbols is the Christian and Missionary Alliance logo, which I found a big version on the web and traced.
Adobe Illustrator CS2