This illustration was inspired by one of my favorite songs and THE most awesome music video ever that goes along with it; Lullaby by The Cure
This illustration was inspired by one of my favorite songs and THE most awesome music video ever that goes along with it; Lullaby by The Cure
Here’s an illustration that I’ve been wanting to do ever since I watched the first episode of Stranger Things on Netflix. I loved everything about this series. It’s spookyness, the endearing and quirky Dustin to total badass but cute as a button Eleven. The awesome 80s vibe and it’s geeky references. Everything is done right, making it one of the most binge-watch worthy shows appealing to middle-graders and adults looking to feed their inner-child alike.
For the illustration I wanted to cram as much references to the show as I could in there. Eleven as the main character, the boys in awe of her supernatural powers, Will trapped in the Upside Down and a hint at the luring danger that’s upon him.
I wanted to present it as an old leather bound adventure book cover with elaborate ornamental designs referring to the show as well.
I wanted to capture the kids’s likeness, but I didn’t want it to be an exact copy of the actors. I tackled this by using reference (by looking at screenshots) for the initial drawing only, then putting any reference aside for the painting process (apart from the clothing).
I believe I succeeded in what I intended to picture with this. I hope you like it as well.
If you happen to love this illustration, I made it available as art print among some other products. If you’re interested, take a look: www.redbubble.com/people/rudyfaber
“Set in the fictional small town of Two Mile Creek, this paranormal sleuthing series follows a middle grade foursome who uncover the histories and mysteries of haunted antiques sold from the girls’ family’s antique shop.”
I’m very exited to show the covers that I did for the mystery book series Hauntiques by Thomas Kingsley Troupe, published by Capstone Publishing. Apart from the covers, I illustrated the interiors as well.
“Those voices are calling from far away, wake you up in the middle of the night just to hear them say: You can check-out any time you like, but you can never leave”
An illustration that I made this week. I felt the above passages from ‘Hotel California’ arranged in this order to be fitting.
Oh how song lyrics can be such a wonderful inspiration!
The second illustration centered around the almost mythical (but likely very real) Tomoe Gozen, a legendary 12th century Onna-bugeisha (for us westerners best described as a female samurai) who fought in the Genpei wars between the Taira and Minamoto clans for control of Japan. The famous, almost contemporary epic account on this war The Tale of the Heike describes Tomoe Gozen:
“Tomoe was especially beautiful, with white skin, long hair, and charming features. She was also a remarkably strong archer, and as a swordswoman she was a warrior worth a thousand, ready to confront a demon or a god, mounted or on foot. She handled unbroken horses with superb skill; she rode unscathed down perilous descents. Whenever a battle was imminent, Yoshinaka sent her out as his first captain, equipped with strong armor, an oversized sword, and a mighty bow; and she performed more deeds of valor than any of his other warriors. ” (source: http://wiki.samurai-archives.com/index.php?title=Tomoe_Gozen)
I have always had a likeness for strong warrior-like female characters in stories, a subject I have often depicted in my personal work, so naturally I took interest in the story of Tomoe Gozen when I stumbled on it a few years ago. This interest went as far as letting Jan-Willem tattoo Tomoe on my lower arm as the main subject in a Japanese full-sleeve tattoo (check out Jan-Willem’s work. His skilled hands developed a unique and personal style that particularly shows in his character work. This all based on his knowledge and respect for traditional Japanese tattooing and the legends they depict)
My tattoo shows Tomoe on horseback and is loosely based on an event in which she cut of the head of the samurai Onda no Hachirô Moroshige (a Ukiyo-e print by Katsukawa Shunzan depicts this very scene).
That’s right; I have a decapitated head, a Namakubi, tattooed on my arm 🙂
This illustration is the second in a series that I plan to do (See below illustration that gave birth to the idea) It will revolve around a young woman who possesses the spiritual power of Tomoe Gozen and will feature mythical beasts and other supernatural entities that I find very fascinating in Japanese storytelling.
I’m not a skilled writer by any means, so I just want to show this through imagery. Perhaps it will result in a graphic novel with the emphasis on ‘graphic’, in which I’ll try to convey a story with as little words as possible.
It’s all a very vague idea and I’m not sure that I will actually stick with it, but for now I’m having tons of fun jotting ideas down and doodle away on my tablet.
This illustration was entirely done in a comfortable reclined position on my couch using my new Wacom Cintiq Companion 2. Yes, I do believe this device is awesome for my back and will be a massive productivity booster 🙂
The illustration itself; something that just came to exist without much planning. I love when that happens.
In my previous blogpost I talked about my first impressions from using a Microsoft Surface Pro 4 as a mobile graphic tablet. I little over a week later and I brought the device back to the store. It’s an incredible machine, it’s almost perfect except that the device just doesn’t lend itself for the purpose I intended to use it. The pen with it’s sensitivity and lack of tilt doesn’t compare to what I’m used to in Wacom Intuos tablets that I’ve been working with for over a decade. Feather light touches on the surface hardly or don’t register at all. This becomes particularly frustrating when sketching or trying to color pick when painting as well as trying to get your colors to blend nicely and realistically on the canvas. An accurate sensitivity of which the ability to hardly press down is crucial. This is not the device to get if you’re a professional digital artist looking for a mobile substitute for your desktop.
Despite the SP4 being frustrating to draw and paint on, it did show me the potential for mobile graphic tablets and since I had a taste I needed more. I’m not a tech guy and I don’t really keep that up to date with new tech releases, so it’s been only recently since I learned that Wacom brought an already second gen mobile graphics tablet under their Cintiq line on the market. A full Windows 8 (up-gradable to 10) computer to boot; the Wacom Cintiq Companion 2.
I was already hooked in and began chasing the dragon of mobile graphic tablets, so I spend a little extra and ordered the Cintiq Companion 2. After unboxing, upgrading to Windows 10 and installing Photoshop and Clip Studio, which took up pretty much all afternoon, I finally could take it for a test drive that evening and wow! what a dream to work on! The device is large and clunky, it makes noice and gets kind of hot and it’s not as pretty as the SP4, but it does the most crucial part exactly right as you would expect from a Wacom tablet.
The customizable physical Expresskeys and Rocker Ring on the side of the tablet come in incredibly handy and are pretty much crucial for a great drawing/painting experience. I hardly ever use those keys on my Intuos Pro, but on this mobile device they totally rock! It’s great to be able to physically feel your most used keys instead of almost blindly aiming your finger on the screen. Apart from that there are fully customizable on-screen controls and a radial ring which allows the use of essentially all shortcuts you use on your desktop. These are great for merging layers, transform, copy/paste, safe etc. I press them with my pen.
The pen is exactly what you’re used to from Wacom and comes with a set of extra nibs.
The only major downside is battery life. After two hours working in Photoshop my Companion was screaming for extra juice.
I’ve been in the market for a mobile graphic tablet for a little while now. This mainly to be able to get away from my desktop for ergonomic reasons and be able to work wherever I want to. This means that I wanted a high-end machine that will run Photoshop CC smoothly for digital painting.
One of the obvious choices would be the Micrososft Surface Pro 4, a high-end laptop (drawing) tablet in 1 Windows 10 computer that’s specifically marketed towards those wanting to use it for creative purposes like Photoshop users (and thus digital illustrators as well) do.
Upon writing this blog post the Surface Pro 4 has been out there for about 9 months I think and while there are many reviews out there, I can’t seem to find any pro digital painter user experiences out there.
Well I decided to take the plunge anyway and invest my hard earned cash in this machine.
After two days of playing with the SP 4 I figured I might as well write about my experience with it. Perhaps this is useful to anyone contemplating getting the SP 4 for wanting to actually paint digital on the thing.
I won’t go into tech details, but I should mention that my SP 4 has the i5 processor, 8gb ram and 256 gb storage. It’s the mid-range model.
First of all, Photoshop CC and Clip Studio Paint Pro that I installed as well both run smoothly. On a large canvas (A3 at 300 dpi) I did notice a little bit of lag when using a relatively large brush size, but I didn’t find it that bothering. When completely zoomed out, using a very large brush size, the lag becomes significant. Up to about 3 seconds after making the stroke, but you probably won’t be working like that anyway.
One thing we as digital painters simply can’t do without are shortcut keys. I use Alt extensively to color pick, brush size increase/decrease, F5 for brush settings, undo-copy-paste-deselect-invert selection-transform-merge etcetera. I’m kind of used to just picking my tools from the toolbar, but those shortcuts above are those I can’t do without.
The Microsoft type cover keyboard (which doesn’t come with the SP 4 but will set you back another 150 Euros in my case) is absolutely lovely and a joy to type on, but only if you use your SP 4 as a laptop sitting at a table and that’s not how I want to use it. Besides painting in this setup absolutely sucks. It feels completely unnatural.
I want to kick back on my couch, tablet on my lap and just draw/paint like I would with a regular sketchbook. This will not work with the keyboard attached. You could probably have a bluetooth keyboard linked to your SP 4, but in a reclining position on the couch or in bed or somewhere in a park on a sunny day this will be annoying as hell.
Expresskeys like on Wacom tablets would be ideal, but it doesn’t have them so I want them on my screen. Hey awesome solution; there are customizable toolbars that will do just that. These are a couple that I found: Toolbar Creator, Touchkey and Toolbar Pro (Google them, find some tutorials on how to set it up) and it does actually work.
I’m using Toolbar Pro (see screenshot of my screen setup above) and I believe I can totally get used to this. It’s a paid application though, I believe it was around $9.
So now that I’m all set up, Photoshop CC runs smoothly, I have my shortcuts on screen, what are my thoughts? Well, the pen…it could be great, but it’s not. Pressure levels are not as high as those by Wacom, but should be more than enough and they are, really, if you actually press down. Ugh, it doesn’t register very light touches! When you use Alt to color pick extensively you actually need to think about pressing down hard enough even on the softest pressure settings from the pen’s menu. It’s not that you’ll have to press the pen through the screen, but just lightly touching the surface will not color pick and this completely takes away the workflow. I normally do this action completely automated and very fast on my desktop. I want the same experience on a mobile tablet if I fork over this amount of money for it.
This is a total dealbreaker for me. There is some hope I found because Wacom is rumored to produce new pens that are supposed to be compatible with the SP 4 (like they did with Bamboo pens for SP 1 and 2, or so I believe)
All in all; fantastic machine, very high-end, super slick with some very nifty magnets inside that snap on your type cover and pen (I just think that’s awesome). The above image is pretty much how far I got testing it as a painting utility, but I believe it’s powerful enough to handle your average painting work on a desktop (unless if you probably go completely overkill on dpi and filesize) In combination with an on-screen toolbar for shortcuts, this could be an absolute brilliant mobile graphic tablet. I don’t see it as a complete replacement for my desktop with my kind of work, but I can definitely see loading up a file I’ve been working on and take it with me to a coffee bar and continue working on it.
However, the pen. This is a major issue for me. Maybe it’s something I should and could get used to (like way back when first using a drawing tablet instead of paper) and/or maybe it has to do with some settings I haven’t figured out yet.
Anyway, these are the first impressions. Of the 2 days I had the machine, I spend most of it trying to figure it out of which the toolbar thing took up a lot, and only spend about 30 minutes doing some actual digital painting (apart from a couple of hours just doodling and testing out pen strokes). I have about two weeks left before my return/refund options run out, so I’ll be spending a lot more time on it and perhaps write a follow up or give up and swap it for a Cintiq Companion 2 instead or just get my money back because I really should not be spending this amount…
If you found this useful, have anything to add or ask go ahead and comment below.
I worked on this illustration in Clip Studio Paint Pro on the SP 4 for a little while now. Admittedly, I started this illustration a couple of days ago in Photoshop on my desktop, but I’m having some nice results on the tablet. I’m very new to CSPP so I’m still figuring it out, but the basics are very similar to what I’m used to in PS.
The best thing: the Alt+click combination to color pick seems to be working much better in CSPP! It’s not as fluent as with my desktop Wacom Intuos Pro or even my ancient Intuos 3 in PS, but it’s not bad at all. This makes me assume it’s very much a PS performance thing. This still in combination with a pen that is just inferior to those from Wacom.
…that kind of just happened along the way. I like his face. I think I’ll take it a step further another time and see where it takes me.