Yesterday afternoon's "Kreate-a-Kaiju" workshop event at the Play Library was a success and a total blast! Thanks to everyone who came out and made kaiju with me. The coolest part, by far, was the diverse mixture of both new and familiar faces, ranging from families with young toddlers to adult couples who got their hands dirty and made Japanese-inspired, city-crushing clay monsters. We even had a Japanese visitor (who had moved her less than two years ago), who had heard about the event on social media. She carefully sculpted her own "Booska", and taught me the correct pronunciations of several kaiju.
Here are a few pics from the event. Also, if you came out, when my illustrations of your kaiju are complete and ready for pick up at the Play Library, I will be posting about it here. The Library will also be posting about it through their usual means. I hope to have them finished within a couple of weeks.
(the "Tunnel-Ball" mugs make their in-person debut)
The past few weeks, I have been working on some ideas for a couple of pieces to contribute to the upcoming Prince tribute show ("The Beautiful Ones Always Smash the Picture") at the Thunder-Sky Inc. gallery. This is a show similar to the fantastic Bowie show from back in April.
The main piece I had been toying with in my mind was a robot painting titled "Computer Blue" (a favorite track from Purple Rain). Rather than using watercolor or gouache like usual, it occurred to me that I had a small, 2 oz bottle of blue "cel vinyl" paint lying around. I'll try to be as brief as possible with the background: as the name implies, cel vinyl is what just about every major commercial animated production was colored with before animation switched to digital ink/paint (the paint was applied to the backside of the pre-inked translucent celluloid or 'cel' before being shot on camera).
Essentially, it was used to create a flat (yet vibrant if so desired) color palette that essentially functioned as a physical, painted version of digital color fills, so it was no surprise that the switch to digital color was an easy transition (not to mention that it cut down on the manual labor and costs of having entire ink & paint departments on the assembly line).
Somewhat amazingly, the company who makes the stuff if still alive and kicking, despite the fact that not only the painting process, but cel animation in general has been dead for 15+ years now. And not only is it still surviving as a mailorder for nostalgic artists like myself, but they apparently still operate their brick and mortar storefront in Southern California ... the aptly named "Cartoon Colour Company". I don't doubt that they must be hanging on by a thread (as also evidenced by their website being outdated and a mess to operate), but it is truly wonderful that the stuff is still being produced. There still seems to be a niche market for it among artists, however minuscule that may be.
Not that I have personally experimented with the alternatives, but while paints like designer gouache exist (probably the pre-digital equivalent to cel vinyl for graphic designers and commercial illustrators), I believe cel vinyl's extreme opaque-ness is so unique that it is still very much desired by certain hobbyists. Looking around online, some use it in a similar fashion to what I am doing here (paintings), others use it to paint custom toys and clay sculptures, etc.
Back to the piece ... so I have a bottle of the stuff that I want to try for the "Computer Blue" painting ... but how do you use it, exactly? I grew up reading just about every animation how-to book I could get my hands on, but the processes of ink & paint were typically barely mentioned (if not ignored altogether). This is because, like previously mentioned, they were typically done by entire departments who created the finished, colored artwork once it was out of the hands of those creating the actual animated drawings and backgrounds. However, the process of painting on a clear sheet is not normal unless you previously worked in animation, and cel vinyl is not normal paint. For starters, the consistency of the liquid is thick, almost akin to a cooking batter of sorts. The bottle instructions also advise to "keep the brush wet". Similarly, I also remember reading somewhere to keep the paint diluted with water for best results.
After some initial (but not nearly enough) testing, I realized that the stuff seems to be as advertised re: being compatible with just about any surface. This was a concern, because I was unsure if it would produce the same, extremely opaque effect when applied to a traditional paper surface like watercolor or Bristol as opposed to a clear acetate. The bottle I am using watercolor paper, so I went ahead and dove in.
(the above pic features a pencil drawing of an older design ... most notably, the robot's legs/feet changed, and there were two little television/monitor-type things on each side of the bottom featuring "YES" on one screen and "LISA" on the other, based on the dialogue at the beginning of the song)
I quickly realized that, when covering larger surfaces as opposed to outlines, the process of color filling involves, shall I say ... "glooping" a big hunk of the wet paint into a designated area and carefully dragging the brush around to fill as much as possible before acrylic-looking streaks began to show. The key, here, was choosing the right brush to switch to depending on the size of the area that needed to be filled. This is the only strategy that seemed to be working for me, at least. In these pics, you can see the "drip" method of starting from the top and attempting to guide the wet paint down and spreading it around.
Along the way, I learn that the stuff can be extremely messy, especially when removing the cap (which annoyingly kept getting stuck on very tight) after shaking up the bottle, per the instructions.
This did not end up being the final painting (I will make a second part to this post with further explanation and the final product, which features clouds and purple rain coming down in watercolor), but here was a "first draft" experiment that I was pretty satisfied with. Using the cel vinyl was fun and unique, though a messy and tedious challenge with a lot of trial and error. If the bottles weren't so expensive and becoming increasingly more difficult to come by, I would love to use the stuff more often. I had intended for this post to be more about experimenting with the process (i.e. visual), but it ended up being mostly too many words. Oh well.
There is going to be a really cool event coming up a few Saturdays from now. On July 23rd, I am teaming up with the brand new Play Library (a recycled toy and game loan library) in Over-The-Rhine (Cincinnati), right across from historic Findlay Market. We are going to create our own strange, Japanese kaiju-inspired creatures and monsters together! I'll be bringing a few of my own for display, and we will be getting our hands dirty with clay and plenty of drawing supplies to make our own (complete with displaying them on our own little foamboard Tokyo). Additionally, I will be taking your designs (sculpted or drawn) and making you your own fully inked 9x12 drawing, giving your doodle my own take. I will also have signed copies of "Tunnel-Ball" (plus pennants and mugs) for sale .
Here is the event link with the full agenda. It is from 10-1 (so you will still have time to do your important Saturday evening things) and perfect for all ages. The Play Library needs your support and I promise you'll fall in love it when you visit. I certainly did when I went to the grand opening last month. See you there!
Doing some cleaning this morning, and thought I would share a few old "Tunnel-Ball" pieces that never came to fruition.
I wish I remembered the exact chronology of Tunnel-Ball's origin (it was a few years ago and changed quite a bit), but it went something like this. While I was finishing my previous book, I was thinking about a new project, and I had unintentionally doodled a mole-looking character in an over-sized shirt that only later became a baseball jersey. Sadly, I no longer have that original doodle, but I do recall it was in one of those "kona" sketchbooks w/ paper made from recycled brown coffee bags that I was experimenting with at the time. I used to hoard and archive old sketchbooks, until I moved a year ago and now have an even smaller/cramped studio. As usual, I didn't jump in and start doing anything with the character, but he stuck in the back of my mind and I kept coming back to the idea until he became the protagonist for a new book idea. Initially, it wasn't baseball-related. Around the same time, I got an idea for a completely different baseball story in which the mole wasn't used. The next few months, I believe I kind of simultaneously realized that the baseball story was too ambitious, and I was also really struggling with ideas for the mole story. When I thought about combining the two, I immediately felt like it would be a lot of fun.
This is the oldest drawing of Clive Mole that I could find. For a while there, he had ears and an "Earth Worms" logo on the jersey. Most noticeably, he didn't always have arms. I think I eventually realized that just having giant claws was a tad on the scary side (not to mention drawing him gripping a baseball bat with no arms was increasingly tedious).
Page 3 before the colored interior was abandoned for b&w.
There was originally going to be a page with a closeup of the floating scoreboard (which is seen on the page w/ Worms Stadium) right before Clive's big at bat. Of course, it wasn't to be electronic, but one of the charming old scoreboards that had to have a worker change the score manually (while sitting w/ a recliner, footstool and popcorn in the meantime).
This "ticket" was never originally supposed to be appear on the back cover. It was just a postcard design to send to friends/families for advertising. But I liked it so much and thought the simplicity of the message ("here's your ticket, hope to see you at the game!") worked really well to be the back of the book.
And finally, a very, very old rough painting. This page idea was ultimately replaced by the page of Clive reading the morning paper. Originally, the "dream" of receiving the package and invitation was quite literal. Clive's baseball obsession is evident in the fact that the room is filled with thousands of balls.