The Gearheads dive deep into the dark art and science of Copyright, Trademark and Intellectual Property for artists with good friend, mentor and industry expert Carson Lev. The first in a series, we’ll get you up to speed on protecting your work and establishing your brand and protecting each using real-world case studies and experience.
“The Craigslist ad I answered didn’t say, “Looking for someone to be a process engineer, a tooling engineer, a mechanical engineer, a welder, a painter and a sculptor for a huge opportunity to work with Disney.”
It just said “Looking for an artist.”
A peek at the process involved in the creation of the Big Red Camaro SEMA poster, from loose sketch to final detailed illustration, Round Six’s Brian takes you inside of his head, and shares a ton of tricks, tips and deep into some personal history.
There’s always the drive to take the subject that extra step… to get something to move in the image, to put it over the top. Some time back, I experimented with backgrounds in my renderings that included scanned and reworked splashes and splatters. They had that ‘frozen in time’ feel I was looking for, and allowed me to play with contrasting colors to get some visual pop and movement…
No presets, meshes or brushes, just paths and pen tool. There’s a lot to be said for using the basic tools, and I find it to be a very Zen experience; it becomes the art of massaging your brain while working. It can get tedious, but the key is in finding a rhythm, wherein you can alternate between left and right brain, solving little design and engineering issues as you make everything look “right” or “cool.”