Sunday, June 11, 2017

Master Study: Craig Mullins


Color, Contrast
Going back to what was stated in the previous post:

1.) Determine the temperature of the light before choosing your palette
2.) Choose your color palette from the new limited color wheel
3.) Don’t go outside of the range of colors except for an intended effect 

From that one can tell that the temperature of this piece is that of a warm afternoon. He blocks the focal point in with the ray of sun cutting across the painting diagonally. The contrast of shadows making sure our eyes rest on the chief Mayan standing above the crowd.  The contrast hits at all points: The contrast of  light and dark and the scale of the individual person and the mob below.

His colors are for almost the entire piece red, orange, and yellow. The color of the masses is a pale yellow color with sprinkles of different colors to give dimension to the volume of people it is suggesting. The buildings themselves are orange and with the shadows cast by the suns rays fall into brown and dark reds giving the shadows the same warmth as the reds and oranges that make up the rest of the piece.


He of course then makes the exception to this palette of colors on his focal point by adding saturated yellow, red, blue and green to his outfit. I also noticed he uses a highly saturated red for the bounce light along his arms and torso.

Rhythm
He uses the back of the heads of the figures repetitiously to show scale when he moves us closer and further away from the focal point from the foreground. I say heads because this is the only thing he can describe as he gets further away on the left hand side to the bottom of the pyramids steps.
They also move up to the focal point in a pattern: Left, right, left, right, left.

Emphasis and Repetition
The emphasis here is the chief over looking the crowd below them and both are emphasized in contrasting ways. The most saturated colors can be found in this top right hand side of the painting. This includes the headdress he is wearing obviously but also the saturated orange of the pyramid structure in the background. Below him barely noticeable on the left side of the stone wall he stands on is also the only other saturated greens and yellows in the piece. His whole gesture and detail on him and the clothing make him the focal point.

The crowd is emphasized in exactly the opposite way.  He makes it believable that the mass of dots is a crowd by his use of dots for heads that become smaller and smaller the further away he moves from the foreground and he does this gradually on the left side of the piece.

Balance
I feel like this piece is well balanced by having both extremes juxtaposed next to one another like this gives us a awesome sense of scale and space. The large figures in the foreground next to the huge mass of people made up individually of small dots gives a very dramatic and dynamic feel to the painting.

Movement
Your eye should move from the civilians head in the foreground to the conquistador, to the Indian, then to the next conquistador and then to the focal point. After this he uses the same first head as a second read to lead you down the left hand side. He just doesn't put someone as close as the conquistador on his left side, otherwise both passages might be competing for your attention. Instead on the left side there is a break before we see silhouettes of people further down the steps.

Edges
He uses soft edges on the feathers of the headdress of the first Indian in our view for one. But the biggest use of soft edges in this piece is the shadow shape that stretches over the crowd on the top left of the page. The shadow diffuses softly across the crowd and gives it the feel that the volume of people he is suggesting is really there.

Sunday, May 28, 2017

Master Study: Will Terry


Color, Contrast

Some rules for choosing color:

1.) Determine the temperature of the light before choosing your palette
2.) Choose your color palette from the new limited color wheel
3.) Don’t go outside of the range of colors except for an intended effect 

When I did my color study of this piece I was surprised by how off my first assessment of the colors were. For example, I originally thought for sure the base of the rocks were brown with a overlap of orange from the window and that the trees that frame the image were green. What I found though is that most of these assumptions were completely wrong and its only because of the mental association I have for these objects that these assumptions were made.

Will Terry determined the colors he wanted to use in his palette by looking first at the temperature of the sky color he wanted to convey and then building his colors off of that. When you do this you realize that there is no innate color within the object itself, instead it changes depending on the temperature of the light hitting it thus giving us a starting point for what colors we will use in the piece.

In the sky we can see he uses a light highly saturated blue for the sky that illuminates the horizon behind and above our characters and he uses this same spectrum of blue to render the forms of the castle/shell, the sky, the water, the foliage in the front and trees in the background. There is no pure white or pure black in this picture only light blue and dark blues, some crossing into purple and some crossing into greenish blue. The trees look greenish to me but in actuality they are a dark blue with less saturation then the night sky. In fact the only green he uses for the foliage is the highlights on the foliage in the front and on the castle/shell. 

He creates a couple of elements of contrast in this piece by contrasting the cool night light of the sky with the warm orange color of the shell of the turtle. We see the rocks below him are again a variation of blue with highlights that are orange and red depending on how far away they are from the shell's light source. The further away they are the redder the highlights get. This combination of the two colors gives us the impression of a brown color that isn't actually there. 

The exception he makes for effect here is clear, the red apple contrasts nicely with every other color in the limited palette. He makes sure to again use a purple or blue in the shadows of the apple to make it fit in with the lighting of the overall picture. The highlight, which originally looked white to me is actually orange so we get a nice gradation from one light source to the other within the apple itself. The highlight is orange, then we see the saturated red of the apple, followed up by dark blue and purple within the shadows to make it fit in with the other light source.  

Rhythm
I would say the rhythmic element in the picture are the lightning bugs that decorate the picture and move up and down and around the characters to add visual interest to the piece. The wavy foliage in the foreground of the picture is another element often repeated in Will Terry's work.

Emphasis
The emphasis here is where the highest amount of contrast is which is our central characters and specifically the turtle and the red apple. The turtles shell has a light which contrasts with the rest of the picture and the apple is within that same color range. The most amount of green within a picture is used on the turtle which contrasts against the green and is a sweet spot between the yellow-orange light source and the blue-green light source.

Pattern, Variety, Repetition
Will Terry uses a lot of the same long triangular shapes to draw foliage in this picture as he does in his other work. Sometimes its sharp such as in the foliage that pokes up from the ground around the turtle's shell or he uses wavy indirect foliage like in the foreground to suggest movement and add variety.

The rocks are another element of repetition and they also help in adding the visual depth that is  needed to differentiate between the foreground and mid ground here. They get bigger as they get closer to us and smaller as they move away but they never dominate the foreground of the picture. 

Contrast
There are strong elements of contrast here with the warm and cool colors described above but also in the sharp edges of the foliage in the front in comparison to the soft edges of the background.

Balance
The picture is heavy on the left but is balanced out on the right side by the trees in the top right corner that create an interesting negative space around the apple and the butterfly. The foliage in the foreground also helps balance out the two sides of the picture. Without it the picture would feel uneven.

Movement
The only feeling of movement that I get from this picture is the foliage in the front which keeps us from looking off the page and the lightning bugs that dance around the image and illuminate the elements of the composition.

Edges
We see sharp and well defined edges in the foreground and mid ground that helps define the look of the piece. Again soft edges are meant to be a resting place for sharp edges in a painting and here this is no different. 

Master Study: The Silver Warrior by Frank Frazetta



Color 
The colors in this picture stay within the blue, purple and light green spectrum with only a slight deviation from this at our focal point on the sword with an orange/red color. We get a clear example here of reflected light and the color within those shadows. The light is hitting him and the bears directly from above which is creating the dramatic shadows over the man. On the bears we see that any plane not facing the light source has a tone of blue that is the same as the sky however on the bottom parts of the bears where the shadowed plane faces the ground we get reflected light from the snow which is toned purple giving the shadow a lot of depth and differentiating the planes. He wants to make sure the shadows he is using are cool colored and not warm colored since this is the way the piece should feel: cold.

Rhythm
If I had to put down what I think the rhythm in this picture is I would say that one element of this is the eyes, noses and mouths of the bears which are all black and ascend the picture in a rhythmic fashion up the page starting on the bottom half and going right then left then right again before stopping dead center of the page. Naturally our eye would look to complete the rhythm so the next black shapes we see is in the silhouette of the man, particularly his face.

Emphasis
He wants our eye to fall and focus directly on the warrior's face and his sword he has in his hand
and he does this in numerous ways:

First there is the color difference with this being the only touch of orange/red color in the illustration which contrasts directly with color of the rest of the picture. The 3 rays of light that bounce off the sword are also an indication of that. We also get the contrasted black shape of his hair, face and sword
against the while mountain backdrop.

He gives us just enough information on the face while leaving the rest up to our imagination which draws us in more than if he was to make a fully rendered and detailed face. These are the only parts in the picture outside of the sleds themselves where black is used. Its not completely black since it still has some yellow and blue in the shadow itself but its enough of a difference to contrast with the color of the shadows under the polar bears beneath him and creates a interesting and provocative shape for our eyes to rest on.

This dynamic image of him on his sled  is framed by the two skis on either side and his sword keeping your eye going in a triangular fashion around him once your eyes have rested on his face. This is how he communicates the second read elements of the picture such as the ornamentation on the sled.

Pattern, Variety
The rule of 3 is applicable all throughout this piece:
-3 charms on his waist
-3 rays of light hitting the sword
-3 medals along his waistline
-3 protrusions from his helmet
- the 3 long dark shapes of the two skis and swords
-3 handles on the sled

Repeated shapes in the picture include small circles for the eyes, decoration on the sled, as well as the circular shapes of the backs of the bears and the decoration on the Silver Warrior himself. as he has several. There is also the repetition of 4 in the picture with four polar bears and their features which he uses to create rhythm and movement along with some of the decoration on his sled.

Contrast
He sits nicely in contrast with the backdrop of the mountain which makes the silhouette of his head pop forward since it is shaped by the shadow which has next to no reflected light within it ( but is not entirely black since most illustrators will not use just a solid black for shadow, it would look out of place). Imagine if this landscape was behind waistline or was centered along the picture how would this take away from the contrast of the face? It would also create a lot of empty space on the top which would make it unbalanced.

Balance
This piece has a asymmetrical design and creates an interesting shape dynamic with one side leaning more towards the left and the polar bears more to the right. Asymmetrical designs are used to make a picture look more lively which is exactly what we see here it

Movement
He uses the positioning of the heads of the bears to provide movement.and a sense of liveliness that it would not have had they faced all the same direction or patterned like left, right left, right. Instead we get one looking to the right, one to the left and another one staring right at us which breaks the pattern and then another looking to the right. This along with the triangular shape of the man and his skis pushes our eye up to the top point of that triangle where he wants our eyes to land then we naturally look at the skis because they are another black shape and going from one ski to the next moves our eyes across to appreciate the ornamentation of the sled before going back up the the face.

Edges
In this piece he varies his edges pretty significantly where the bottom and top half of the piece contrast one another in this regard. For example the silhouette of the Silver Warrior is sharp and well defined in its edges. Again our eye naturally will go to these sharp edges and in comparison the soft edges of the bottom half of the mountain in the back drop and the soft edges around the arms and legs of the polar bears contrast with it nicely allowing his silhouette to dominate the picture so that our eye will not rest here. If he had made all of the edges sharp then the picture would not feel as lively I think. The soft edges are only meant to be there for the hard sharp edges to sit on.

He also uses a mixture of soft and sharp edges to define the edges on the polar bears. The two polar bears in the back are separated from one another by a lost edge that is more of a transition of color then like the other three which have sharp edges on them when they overlap and soft edges when they overlap with the snow on the mountain top.

Links:
http://amazingstoriesmag.com/2014/11/judging-books-covers-silver-warriors/

https://en.wikipedia.org/wiki/Frank_Frazetta#Selected_paintings

http://muddycolors.blogspot.com/2015/04/10-things-about-edges.html

Sunday, April 23, 2017

Zach Weinersmith Interview





1) First off how did you get started in doing web-comics and how long have you been doing this full time? Did you ever imagine you would become one of the most popular Patreon web comic artists?

I just started :) Over time, an audience built up, and by 2007 or so, I was able to do it for a living. I'm not sure I ever thought actively about my position on patreon, since it's a relatively new website.

2) Being one of the most popular web comic artists isn't something that really happens by accident, you obviously have put in a lot of work into what you do so I'm curious if you had any social media strategy together when you started to publish comics? For artists that are looking to build a community around their art what tips can you give them? Did you do any research into business or marketing as you made your comics? How much do you interact with fans on social media?
I didn't have any strategy of any kind when I started. And, in any case, the environment has changed a lot online since then. The one thing that really seemed to help me was meeting peers and doing guest work for them. I interact a bit, but less and less as things have gotten very busy, and I now have two small children.




3) Do you have recurring characters in your works or do you prefer to keep the comics you make for Saturday Morning Breakfast Cereal as one offs? What is your process for creating your comics? For example do you create a lot of comics ahead of time and slowly trickle them out? How often do you release new content and how far ahead do you create?

Not really. They're largely one offs. My process is to read a lot, and then write for a little while every day. I try my best to average 8 comics drawn a week, so I can build up a buffer.





4) What does your day to day life look like, do you have a set schedule you follow everyday and about how many hours a day do you work?
I watch kids all morning, then in the afternoon, I try to read, write, and draw every day.




5) You have a book coming out later this year that you collaborated with your wife on called Soonish: Ten Emerging Technologies that'll Improve and/or Ruin Everything can you tell us a little bit about the book and what the process was when you two began to research this book? How do you decide what goes in a book and what gets published online and how do you balance the two?
It's a real book of real science, often quite in depth too, but with jokes and comics to lighten things up and make it fun. To an extent, the decision between indie and traditional publishing comes down to the product and the potential profits. If I think I have a niche product my readers will like (e.g. a themed comic collection), that's probably better as an indie offering. This book has broader potential.



6) I noticed you mentioned in your Patreon biography that your wife is a research parasitologist, and from reading Saturday Morning Breakfast Cereal it looks like most of your work either centers around religion or science. What is it about these topics that inspire you? Do you ever get negative feedback from people who are offended by your work? Do you consider yourself to be religious or have any spiritual beliefs or practices?

I don't know if they inspire so much as they're just things I'm interested in. So, they end up in the comics. I am not a religious person, but I try to be respectful, and I get very little hatemail.

7) ) To continue with this what inspires you and how do you find inspiration for your work? What kind of books and movies have inspired you in the past or that you are checking out today?

I don't know if I have any super direct book inspirations. Stanislaw Lem perhaps. If you want to see what I'm reading, I do short reviews on theweinerworks.com


8) What do you think about the digital platforms like Comixology and how does Patreon differ from these platforms?

I haven't got a clue, I'm afraid!





9) What is key to success on Patreon or in web-comics in your opinion?

The main thing is to make a product that is good and that is something only you can do. All the other stuff - strategy, marketing, et cetera, is comparatively easy.

10) Any shout outs you would like to give to any other artists out there? Who are you a fan of?
Abby Howard is always great. Kate Beaton too. I'm afraid I'm not super up on modern comics, though!

11) Lastly what can people expect from you next and where is the best way for people to follow you?

More books! I'm doing a collaboration on a non-fic graphic novel with economist Bryan Caplan, and then I have a couple other projects that are too early on to talk about openly!




You can follow Zach Weinersmith on his website Saturday Morning Breakfast Cereal Comics or by visiting his Patreon.

You can also check out a few of his comic books available for purchase through Amazon below:

Tuesday, April 4, 2017

Chet Zar Interview



1) I was first introduced to your art with the work you did on the music videos for Tool, what was the process like working with those guys? Do you still keep in contact with those guys or do you expect to ever work with them again?

The Tool projects were some of the most creatively fulfilling and rewarding of my career. Also the most exhausting! Everybody worked extra hard on the Tool videos because we knew they would ultimately be really good. I am friends with Adam and I have met the other guys a few times. I still speak with Adam. He’s my friend.



2) In your Book Black Magick you mention how dissatisfied you were with the movie industry and how politics often got in the way of creativity. You mention the transition from working in movies to being your own fine artist as a particularly stressful or busy time in your life. However now it seems like there are so many avenues for artists to monetize their work and have the ability to live off of their art now, do you think you would have worked in the film business at all if these options were available to you when you started out?

Well, at the time I got in the business I was totally into it so I probably still would have gone into it. However, if I knew what I now know about the industry, as well as having the online resources to make a living, I would have gone straight into fine art, no doubt about it. But I learned a lot in the film business that I was able to apply to my artwork so I am ultimately a better artist for it.



3) Do you feel it is easier to make a living off of fine art now with options like your big cartel shop and conventions like comic con or is it still a struggle to make a living off of doing something creatie? What would you advise to people who want to have a creative career?

Not having a stead paycheck will always be a struggle but I think it’s easier now with social media and the internet. Without it, I’m not sure how I would sell my work. I would only encourage those creative individuals who are willing to do whatever it takes to make a living at it. That includes working 12 hour days and usually 7 days a week. Everything else has to take a back seat to your art career, at least at the beginning. I would not recommend it to anybody who is lazy. It’s possible to do but takes a LOT of work to maintain. I would also suggest transitioning out of your current job rather than just jumping in cold. I continued to work in FX for about 7 years while I started my fine art career.



4) After Tool worked with you, they collaborated with another artist for their next album Lateralus, Alex Grey. I always thought your art and Alex Grey's art were very similar almost like you two are two different sides of the same coin, your art is dark and brutal but I get this sense behind it that you are a very spiritual person. Do you meditate or have any kind of spiritual practice in your life? Alex Grey mentions LSD as being a big influence on his art, have you ever had any experiences with psychedelics and have those experiences influenced your art?

I agree. Our work is more similar than it is different. I have meditated most of my life and have had a number of life changing experiences with psychedelics. So Alex and I are definitely on the same page! It’s funny- and more of a testament to Alex more than anything else- when I first met him and showed him my work (when I was just barely starting in fine art) he told me “Oh, you’ll make it!”. He recognized what I was trying to say (probably before I even knew) with my artwork right away. My documentary “Chet Zar: I Like To Paint Monsters” has a great interview with Alex. The psychedelic experience is also covered in the doc, as well as my many ’supernatural’ experiences..



5) Do you consider yourself to be a religious person?

No, but I do feel certain that there is much more than this. I believe in ‘God’, whatever that term even means. The short answer would be “not religious but spiritual” but that’s such a cliche...



6) I noticed that you have a lot of really talented friends like Gabe Leonard and Alex Grey, do you ever collaborate with these artists on any projects?

Alex and I collaborated on Tool’s “Vicarious” video and that was great fun. I don’t do a. Lot of collaborations otherwise. I’m too busy keeping the machine (my art business) going. I hope to eventually get to a point when this is possible, though.



7) What movies and books are you checking out now?

I don’t have much time for reading (although I LOVE to read) but I have been on a documentary kick for years now. It’s just about all I watch. I have a TV by may easels I put documentaries on so I have something to listen to. I have pretty much seen them all. I think the last good one I watched was called “My Scientology Movie”. It was good.



8) You mentioned in an interview with SullenTV that you were once a musician and that you would try your hand at pretty much anything, do you plan on putting any music online sometime? Have you ever tried your hand at writing a book with the monsters you paint as characters in a narrative novel?

I recently got back into music and have been playing and recording music again. I really missed it. But again, I don’t really have time for it. I was recently able to use something I recorded for the intro music for a new podcast I started with friend and director of “Chet Zar: I Like To Paint Monsters”. It’s called The Dark Art Society Podcast.

Definitely have been thinking about a novelization but first I have to finish Dy5topia Field guide. It’s another project I am working on with Mike- mythologizing the world I have been creating in my paintings.



9) What does your day to day look like? Do you have time for other things outside of making your art?

No, not really. My life is consumed by it. Luckily I have a very supportive and understanding wife! I pretty much get up and once I am awake, I start working.


10) What inspired you to make the version of American Gothic that you did, what was it that inspired you about the original Grant Wood painting?

That was the idea of a client who I did the commission for. I probably would not have done it on my own but it was a great idea and is now one of my most popular images, That once was a real bitch to paint for some reason.



11) Who are some old master artists that have influenced you?

How old is old? If you are talking ooooold masters I would say that Bosch was a big influence. Velasquez was incredible as were the old flemish masters. But most of my influences are more ‘modern'- Frazetta, Beksinski, Giger, etc.



12) Would you like to shout out to any artists? Who are you a fan of these days?

So many that I hate to choose just a few cuz I know I will forget some. I will say that the newest artist I have been digging is Emil Melmoth from Mexico. Mind blowing Dark Art sculptures!


13) Lastly, thank you so much for taking the time out of your busy schedule to do this interview. What is the best way for people to keep up with what your doing these days?

Thank you. You can follow me on Instagram @chetzar. Also, my website is chetzar.com but it’s not very up to date. My web store is chetzar.bigcartel.com and that has new pieces going up pretty often, as well as lots of prints and other merchandise. Also, check out my new podcast, The Dark Art Society Podcast at https://soundcloud.com/darkartsociety.

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If you like the interviews and content I publish on this site and you plan on picking up some of Chet Zar's work please check out my Amazon affiliate links to his excellent art book Black Magick and his documentary I like to Paint Monsters below and thank you for your support! Leave a comment for any artists you would like to see interviewed next!

Chet Zar: I like to Paint Monsters

Black Magick: The Art of Chet Zar

Tuesday, March 21, 2017

Aedel Fakhrie Interview

1) So first off thanks for doing this interview, I only came across your instagram page recently but your collaborations with other artists like dobu.haishen blew me away. How exactly do you go about creating the collaborations with different artists? Do you do the line work and let them render it? Do you feel like you have learned a lot from doing these collaborations with artists that you wouldn't have otherwise?

So yeah, mr.Dobu asked me to do a collaboration, well am so stoked bcoz I really luv his demon mask design. Well, mostly I paint or draw some parts or objects then combine it with collaboration mate. For example, when I work with Dobu I asked him to give me the demon robot mask, then I did his body and gesture, so I am trying to bring this mask into a character. People don't need to know what he is or what he does we jus created the images with the title DAEMON OPERATOR. The rest is up to the people what they want to imagine. Few things I'm aware is I am trying to raise Cool, Anger , Violence, Invincible into this character.


Here's another example when I did a collaboration with @elfandiary . He drew the girl and I did the background. First thing before we did anything, we talked about the concept and what we are gonna to show to the people. Girl and robot is always good combination LOL. But we prefer doing it by not showing anything sensual. Yeah, I was trying to make epic scene behind this cool pilot girl. Just in case if you haven't seeing the collaboration piece with @elfandiary, here it is:



So if you asking more technical, ummm I don't do that way..like giving the line art and render etc. More like combining more than one drawing/painting syle.
And yesss! I have learned a lot of things, that's the positive things about doing collaborations with another artist, it's challenging actually! :)

2) It looks like you have a bunch of Bunker 15 A diecut stickers and art on your instagram is this something you sell online? Where can people but some of the diecuts you have on your instagram and what is Bunker15A?

Bunker15A is a brand actually LOL. I've made it since I started to sell my first t-shirts this last year. I really hope it will grow and bring my art into merchandise that people can buy or wear it. Yeah those stickers actually are for freebies and giveaways. So, those stickers not for sale right now but I have a plan to start selling die-cut sticker packs with all bots or mechs I've designed, hopefully at May and not only stickers I hope.

3) What do you do for a full time job and what is your art education background? Can you name a few projects you have been apart of and where we might check them out?

Well I just resigned from the office last year, as of June lol. My background is Graphic design and I was work in advertising agency and multimedia company, but now I'm full freelance concept artist and illustrator. 

For illustration and concept art, I've just done few projects since November till now, but some of them I can't publish yet ( resin kit toy company and indie game dev) and the rest of them some illustration for advertising which is not that appealing for me :P.

I recently attended a Star Wars event where Disney Indonesia and Pacific Place Mall had a project to invite 5 artist to draw on StormTrooper helmets. You can check out my contribution below:




4) I think what grabbed my attention the most about your art is your line work, they look super clean and precise but they have a feel like they are very loose and sketchy. How did you develop this "style" did you spend a lot of time copying line work from master artists? How would you recommend someone go about developing a line similar to yours?

Honestly, I feel my line art feels like a crap haha.I need more practice and yeah, exactly! What I do is eyeballing Kim Jung Gi , Katsuya Terada and Otomo Katsuhiro art! If you see their art details, they are all different but slightly look similar, how amount details they put on their art, the ideas, crazy! Those masters art are excellent study materials I say.

Because of it, I step back and learning basic drawing, like perspectives,anatomy, knowledge about material such as machines,animals, human etc. Until now I've only been grinding on the basics. Perspective is hard! Lighting is hard! Everything is really hard haha, but I love it :).



5) So when you say you eyeball Kim Jung Gi , Katsuya Terada and Otomo Katsuhiro are you directly copying their work or do you aim to just keep their work as reference for your own. For example if you are drawing a robot you might not look at a robot these guys drew but instead more how they did their line work and applying it to your own drawing?

At first I'm trying to copying their art, piece by piece, but later on I found that what is really important is I'm absorbing their illustration composition and yes just like you said, you are right about it! I'm applying it into my own drawing style.



6) Do you keep up a regular study schedule today and if so what does your day to day look like? How many hours a day do you work?

Yup! Mostly I spent no more than 5-6 hours a day for work (commission). The rest of it I use it for practice basic drawing, maximum 2-3 hours a day or watching movies and another fun stuff. It's important because ideas and insights comes from that things I believe.



7) Your art seems to be very sci fi specific was there any specific movie or anime that sent you in the direction you are in today to becoming an artist? Any games or movies you would recommend for inspiration or that you found inspiring?

Oh maaan, yesss! I grew up with comic books, robots, and arcade (it's called DING DONG in here lol ). Hell yea! Back to 90's with the Robocop series, Back to the Future, Mazinkaezer, Voltus, and basically anything with robots. But then I'm more selective, since I watch Ghost In The Shell back at 1996 or 97 If I still remember, got that VCD anime-ova from a friend which changing my taste, a lot!

Since then I read the manga version, not long from that, I watched BLADE RUNNER! I was thinking this movie was made in 90's but when I found out it came out in 1982 my mind was blown.
Thanks to the internet ten years later since I discovered Syd Mead. He is Sci-fi's prophet haha.

Umm, for scifi genre, I would say, All movies made by Neil Blookamp and WETA gangs is deserve to watch! Elysium, District 9... etc.




8) Ghost in the Shell was a big inspiration to me too and I'm not even much of an anime guy. What do you think about the live action movie adaption they are doing? I think its cool to see that the story will have more mass appeal for the west.

At first I was really worried the life-action movie will be sucks, just like Dragon Ball LOL , but then when I saw the trailer, behind the scenes and team who handle the movie, then I have a hope this version will be great. But, just in case, let's not put high expectation into this up coming movie haha, especially for the story, there's may something changed or something like that, so yeah :).



9) What are some books or movies that you are checking out now? Any that you would recommend for people to check out?

Well currently I'm studying about my own country which have lots of tribes in the old times, so there's a book called "Traditional Weapons of the Indonesian Archipelago" that I'm really dig in. I kno it's not relate with sci-fi haha, but at least I have more knowledge of ancient weapons function that I may can be use in the future. As for the movies, currently I'm re-watching Akira Kurosawa movie collection, learning his composition, especially dramatic shots.


10) Who are some of the artists you admire today that you have taken inspiration from? Is there any artists that you would like to give a shout out to?

One guy, that blown my mind when I see his art back at 2005-2006 on DeviantArt. He is Kai Lim a.k.a Ukitakmuki a.k.a @divesignal (on IG). This dude made me trying hard to be like him hahaaha. Damn...





11) Finally what is the best way for people to keep up with your work? When can we expect more Bunker15A news?

Ahaha, currently, my IG account (theaedel) is the most update from the other link to my art, at least every 2-3 days I'm posting something new haha as for Bunkr15A, right now I'm about to focus on Bunker15A, still making details as part of the plan to make my own merchandise shop. I will make new account with Bunker15A name and of course I will let people know from my current IG account.
You can also follow me on tumblr.
Thank you also Wesley! Much appreciated this interview :)



Please follow and comment about what kind of artists you would like to see interviewed next!

Friday, March 10, 2017

Robert Geronimo interview




1) First off I just want to thank you for agreeing to do this interview, Can you please introduce yourself for us: what do you do for a day job and how long have you been working as an illustrator?


My name is Robert Geronimo. I'm an independent comic creator and an art instructor at Wagner College.

2) I really enjoy the art you do and I find it really inspiring to see someone go through multiple Kickstarters, starting with the children's book Little Maia and the Lunar Express. What was the motivation behind this project and how did Kingdom of Blood benefit from this experience in doing a children's book? Did it accomplish what you felt it needed to?

The experience of my previous kickstarters really helped me prepare for what's in store. Since Kingdom of Blood is so vastly different from my previous work, the real challenge has been developing an entirely new audience to support. Little Maia has her fans, and Kingdom of Blood needs to find its own. The Little Maia series are wordless picture books as well, whereas Kingdom of Blood will have words like modern comics. But I always make sure that the words serve the artwork, not the other way around.

3) What really grabbed my attention about your project Kingdom of Blood is the shot you took of your work desk with books like "Religion and its Monsters" listed as reference next to an art book on Toppi. I can see the influence of Toppi on your work, but what is the influence of Religion on your work? Do you see religion and horror going hand and hand?


Toppi has been my gateway into this new style I have been developing, and the themes of religion to play a role in my work. Particularly in the imagery. I studied Art History at Brooklyn College for my masters and I was fascinated by the artwork from the Medieval period. There's a sense of beauty to these pieces, when we look at works devoted to the saints. They're regarded as heroes but depicted at the moment of their terrible death. Saint Bartholomew was flayed to death, Saint Andrew was crucified on an X shaped cross, and Saint Lucy's eyes were gouged out prior to her execution... this is dark stuff. And great source material. In Kingdom of Blood, the Sisters of Silence as the main protagonists and carry a saintly air, while at the same time are capable of unleashing deadly power. They really merge the divine with the terror, mirror what those paintings from the Middle Ages captured.


4) For a lot of people art is spirituality. You look at the Bible and regardless if you are a believer or not, at the end of the day it is a piece of literature that has moved and shaped the lives of millions of people for better or worse, which is a testament to the power of art itself. Do you think art has a overarching mission or purpose in this world and how does Kingdom of Blood fit into your view of the purpose of art? Do you consider yourself to be Religious?

As far as being religious, I believe there are mysteries in life, and there is magnitude to these mysteries.

5) For someone who is looking to take on a personal project like putting together a graphic novel how would you recommend someone go about organizing themselves for a project? How do you organize yourself for what you do everyday to fit in your personal projects and work?

Everything starts with my sketchbook. I carry it where ever I go. It's small and can fit in my pocket. Life can through things at you that can suddenly inspire a brand new idea, and it's important to be prepared. I'm always jotting notes, sketching page layouts and characters. It starts with the idea and builds itself. In the end, artists and writers need time to create and some times you have to make that time. The real question is: how important is this story to you and how much do you believe in it to bring out into the world?



6) What was your process for writing the actual book? From the snippets I've seen on your page it looks like there is no dialogue, is this a story told in images only or do you plan on inserting the dialogue into the comic later?

What you saw are the finished inked pages without their lettering. Award-winning letterer, Thomas Mauer, will be lending his talents to the project. I work in the traditional Marvel way of developing comics. I like to tell the story without words, then write the dialogue where it is necessary.



7) How did you learn visual storytelling? Do you have any studies you do on a regular basis to improve your storytelling?

 I studied under DC Comics artist, Jamal Igle, and Tor Books illustrator, Steve Walker. They're friends and they ran an incredible course at the Arts Students League in New York City. I always find myself going back to the things I learned from them. In terms of keeping myself sharp, I make sure I'm always working my imagination and challenging myself to step out of my comfort zone. Take Little Maia and Kingdom of Blood for example. Two completely different styles and genres. You learn a lot about yourself when you throw yourself into foreign territory.

8) How do you feel about Kingdom of Blood and where its Kickstarter is right now? What is the best way for people to follow your art?

 I feel it still has a fighting chance! I invite anyone who enjoys horror and dark fantasy to take a look at the campaign, watch the video, and check out the rewards. Folks can find me @rgeronimoart on Twitter and Instagram. They can also check out my website at www.robertgeronimo.com

9) Thanks for your time man, any shoutouts you would like to give to other artists you admire and think we should check out?

It was my pleasure! Go check out Junji Ito if you enjoy tales that get under your skin. He's an incredible horror manga artist and storyteller!



With 12 days left on the Kingdom of Blood Kickstarter, you still have plenty of time to show your support for Robert's awesome project!