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Commissioned
caricatures
WARNING!
My work is NOT a simple digital copy, distort, colour and paste like
some of the sham bucket shops out there. I do NOT do 1000s of images per
week processed by computer, because my work is
100% original.
Each caricature is a carefully considered re-arrangement of facial and
other features, drawn and painted
by hand
on acid-free,
artists' quality
130lb Saunders HP Watercolour paper using artists' quality paint,
brushes, airbrushes and pens. Some of the compositions above have
taken a week to complete.
I CARE about my clients
and the commissions I am given.
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Technical notes:
Digital Illustration
I favour Corel Painter
(CP9) with the final result heightened in Photoshop (CS2). I use Adobe
Illustrator for some graphic work, but I’m no fan of this app. I prefer
Flash for vector illustration work and animation. I do not consider
myself a vector illustrator.
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I also use scraperboard (although it's
possible to get a perfectly good scraperboard simulacrum using
hand-rendered digital techniques).
Other techniques are employed as the
occasion demands.
These days, most of my published work is
digital, but for other purposes, there is no beating an original
painting.
Some art directors are reverting to
airbrushed artwork. What goes round comes round! |
Technical notes:
Illustration on paper:
For illustration wet
work. I use Winsor & Newton and Dr. P.H. Martin's watercolours and
Winsor & Newton acrylics plus a little Magicolor, for those of you
mindful of these things. Ink is usually Winsor & Newton waterproof
Indian ink. Pens vary but are either crowquill nibs, or steel #4
roundhand calligraphy nibs. For some colour illustration, I use Caran
d'Ache colour pencils on coloured Ingres paper for speed, but prefer the
heightened effect and density of acrylics. The paper is stretched during
the process to eliminate 'cockling' (which is the technical name for the
wrinkling you get when you spill water on paper) and thus ensures
perfectly flat paper as an end result. Brushes are #4, 6, 8 & 10 sable
for watercolour plus whatever I have in the pot, #1 & 2 sable for Indian
ink, and a wide range of portraitists' brushes (W&N, some Rowney, some
Wrights') for acrylics. I occasionally use Bristol board or white card
for some black and white illustration work. Airbrushes are Aerograph,
although the technique has fallen out of favour at the moment for
published work.
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