Throwback Thursday and Brian suspends rational thought, and toys with the idea of creating a cool custom from an overlooked ride.The Nissan Cube isn’t exactly the first thing that pops into many peoples’ minds when asked “what late-model cars have some potential, custom-wise?” We can’t imagine that it enters most sane people’s minds for any reason, really. Yet, back in 2009, this was precisely what he was considering. You’re welcome.
When working on a drawing, little can create impact like line weight. From the most basic uses in describing weight, position in space or even highlighting a featured subject in your work to defining motion, the width of a simple stroke can do many things. I implement this thinking into each piece I create, right from the start, and today I’m throwing down a masterclass on the essentials and value of using line weight to carve out your own signature style.
If I were to ask you to name the first car that really did it for you… the one car that sparked your interest in hot rods or fast cars in general, what’s the first car that comes to mind for you? For me, there was always some interest in cars. It was and is in my blood. I’m convinced that it’s genetic. My parents were rabid car fanatics, and here I am, passing that gene on.
If I were to ask you to name the first car that really did it for you, the one car that sparked your interest in hot rods or fast cars in general, what’s the first car that comes to mind for you? What sparks your imagination? For me, those answers come from some relatively humble and common places. It seems that the car thing is held together by a common adhesive, no matter what kind of cars you like.
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.
In my line of work, time is the enemy. There’s never enough of it. You can only create so many pictures in so much time, and time keeps slipping away from you. Oh, sure… you go at the day with the greatest intentions, but by noon, the day’s half gone (or even less on some more marathon days), and you’re three hours deep in rendering headlamps or hair.
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.”
The plan has been simple: Show the workflow, the art, the technique an all of the warts and whatnots that go into creating a rendering or illustration the “Problem Child Kustoms Way.” Suffice to say, it’s been a ton of work thus far, but very rewarding and eye-opening for me, both from a technical standpoint and as an artist. I’ve realized many key things about my work, as well as just how often I let a few f-bombs fly. Crazy how that can go.