Saturday, December 03, 2011

Episode 108--influence and reference deference...

In episode 108 of the NM Podcast, Patrick, Socar, Kieran, and Jeremy once again join together on the meandering road of conversation of all things arty ( and some topics---not so much).

This episode appears in two parts and features interviews taken by Jeremy during his time in Altoona, Pennsylvania as he attended Illuxcon 2011.

If you would like to have your work critiqued on our next episode of the podcast--drop a link to it here in this episode's comments section!


Anonymous said...

thanks for sharing some of your experiences of IlluXcon!

Jeremy McHugh said...

Too awesome a show to keep to myself. :)
It was great seeing you and the gang there this year, Jon.

Wish I could have had this episode together sooner, but circumstances have kept me just barely scrambling lately to keep up with the studio and teaching.
Crazy around here!

Jan said...

Oh come on, Socar! What's so offensive about Volvo at DeviantArt?

Are you anti-Swedish?

Jan said...

Also I'm sad to hear there won't be any newts in Socar's book! :(

Americans just can't handle their newts.

Patrick said...

Actually, Jan, there's a creepy conservative who's currently LEADING the Presidential polling among Republicans here named Newt. I'm not joking. Newt Gingrich.

If you were writing a book and gave the villain that name, your editor would tell you to change it because it was too obviously evil.

Jeremy Rathbone said...

Speaking of paint. Have you heard of Atelier acrylic paints?

They are an acrylic that has longer drying time, but can be kept "active" by adding moisture, and can be "reactivated" by a medium. I have a set, and am happy, but I was wondering if anyone else has been using them, and what they thought.

David Michael Wright said...

Great episode!

Patrick: Yeah I agree! I find Mr Bean quite painful to watch too (it’s sort of like excruciating snail slow slapstick humour). I saw ‘Blackadder goes forth’ in history class way back at school though, and it seemed pretty funny at the time, I especially remember Baldricks alternative coffee recipe fondly :) link

Jeremy: For acrylic blending this is a pretty neat trick - link

I’d really appreciate it if you’d all consent to give one of my images a good honest punch in the nose and steal its lunchbox…

It can be found at - link (Title - 'The Guardians of Nihl')

And also on DeviantArt at - link

Any/all advice would be really helpful, as my own fuzzy head, the spider that resides within my chilli plant by the window, and my Mum are currently the only 3 things around that seem to give me any half decent feedback (help!).

ChrisCarrasco said...

Hi guys, I heard of the podcast you would be kind enough to do some critiques.

I have this illustration I've been working on. It's done on Photoshop. I like the over look, but something feels off and I can't put my finger on it. Now sure if it's perspective, colors or what. Any insight will be extremely helpful.

The link is here:

ChrisCarrasco said...

Hi guys, I heard of the podcast you would be kind enough to do some critiques.

I have this illustration I've been working on. It's done on Photoshop. I like the over look, but something feels off and I can't put my finger on it. Now sure if it's perspective, colors or what. Any insight will be extremely helpful.

The link is here:

Unknown said...

I'd be honored to hear your thoughts. My site's undergoing some layout changes at the moment, but the galleries are easy to find.
Most of it's published, re: your being more interested in published work. Been passing your site around for quite a while :)
Thanks for the useful podcast.

Max Antonov said...

Hello Ninjas.

Thank you for a great opportunity of hearing critique on picture and a chance to get some valuable tips and advices from such experienced masters of illustration.

If you allow me, i would suggest my latest coloring job - Red Sonja [link], of course if you consider this kind of job as an art. Also it would be grate to hear your thought about such type of collaboration.
Anyway, it was an entry for deviantart's local coloring contest. The amazing lines was kindly provided by great comic book artist - Jheremy Raapack, and i only add some colors and background in a painting maner. Fortunately, it was enough to win!

It would be great to hear your critique on that pice, so I`ll be waiting for the next episode with impatience.

Thank you again!
Respectfully, Max Antonov.

Patrick said...

Thanks for the links to critique pieces, folks! Can't wait for the next show. Keep 'em coming!

brushmen said...

Hi Ninjas, thanks for the show and offering to critique!

Here's a piece painted in artrage, which is amateurish and victim of "not using reference"; but I'm interested in your comments regardless. Thank you!

Gordon Napier said...

Damn... Jan beat me to the Swedish car pun...

Anyway here is something of mine you can critique, if you have time. They aren't in a volvo, sadly, but they could fit in one, with room for their weaoponry in the back...

Done as a cover for a (French) fantasy novel

Kiri said...

Another great episode. It would be fantastic to have Ninja Mountain on WIPNation too.

I like the idea of one page for artists and illustrators to go to to connect to all of the good podcasts/blogs and galleries.

Jeremy Rathbone said...

I certainly have work that I would appreciate critiques on especially from ninja.

I have some new stuff I'm working on, but here is a recent illustration:

Jan said...

Guess I might throw something in the kill pit as well:

"Picks and Hoes"

I got to do some covers (in colour, yay \o/) finally, this is for a Czech horror/fantasy/comedy book about four old undertakers. Who fight zombies. I think.
(painted entirely in ArtRage)

Alex Rooth said...
This comment has been removed by the author.
Jeremy McHugh said...

Thanks for the heads-up on painting mediums and techniques, gang! Great stuff!

I think that Jane Frank was referring more to the collectibles market when it comes to the death of traditionally painted illustrative art--where she earns her living.

There are fewer images being made available to collectors of original art by mainstream illustrators as they make the switch to digital.
There are fewer pieces of new original art coming to the collector's market than in years past.
Collectors are having to make the switch to collecting personal work, private commissions, and preliminary work--- rather than , as an example, finished book cover art since fewer artists are creating these images with traditional materials today.

Of course, as the various markets for illustration change in the coming years with the continual growth of digital publishing--who knows where things will head.
That is another can of worms.

Depending on the market and uses for the art, art directors are far more concerned with the quality of the work rather than the medium employed. Some artists switch back and forth between traditional and digital tools with no apparent change in the style of their work.
Of course, some forms of illustration require that digital tools be used for technical reasons.

As for prints, they are attractive as decorative objects.
They can be beautiful things to own and display, but their re-sale value as collectibles is not as high as original art in general.
It is about rarity and exclusivity in the minds of collectors.
The signature of the artist could carry value in time, but I suspect primarily in the autograph collector's market as a separate concern from the printed collectible. The signature could in fact, become far more valuable than the print for the above-stated reasons.

At least, that's the wisdom I've been presented over the years.

Chantal Fournier said...

I agree with Jeremy McHugh vs collectibility of prints. I don't feel like Jane is putting down prints as a thing to put on your wall, but rather saying that a 150$ print doesn't make sense when you can have a 20$ print that's just as good (eg. I bought a 8x10" Todd Lockwood print last year for 10 or 15$, and it's signed since I don't intend to resell it it's doing great on my wall.)

Regarding technique, it you just want to reuse your palette from one day to the other, Sta-wet palettes would do the trick (for acrylics, don't use that with oil!) they work better than I expected.

Also Open acrylics keep longer on the palette and blend for a little longer than regular acrylics. The best part is they blend with regular acrylics so you can just buy a few tubes to try and keep using them with normal acrylics if you don't want to keep going with them.

Patrick said...

I'm surprised I didn't mention the Sta-Wet palette, Chantal - I have one myself! Good call.

Matthew Sylvester said...
This comment has been removed by the author.
Matthew Sylvester said...

Hi ninja crew! I have been a big fan of your podcast for over a year now.You have helped me make the jump from traditional art into digital and offered good advice through your many discussions.I would be interested in hearing your critique on the very first two digital pieces I have done.One is actually pen and ink with digital color.They are concept pieces for an upcoming small film "The Islanders". Any feedback would be welcome here in the woods of Vermont. I included the links below. Thank you and keep up the great podcast!

Simplejay said...

Great show, and some good interviews, keep it up.

And a little something for crit while I'm at it.

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