5 recent hand-done inkings scanned and ready for touch up in Illustrator. Next step will be to color and texture them in Photoshop. I guess I didn't realize how much I hustled the past two months. Detailed view attached and rebounds on their way.
5 months ago
This is going to sound negative but I'm just really confused. I don't understand this, it appears you traced some old type from an old existing source, then autotraced it? Why not just auto trace the scans? I'm just not sure how this constitutes work or why you'd do this? I'd also reconsider posting what is now racist language (bottom right).
@Dave Foster I appreciate your feedback and questions. This current work isn't simply a matter of tracing and auto tracing. I often use very small, found imagery or ephemera items I pick up at antique stores or the like as reference material and re-draw or at times simply freehand the type or illustrations. I play quite a bit with scale. What may have currently existed as a matchbook or small trade card ends up at a much larger poster size for better viewing. I'll also point out that a majority of source art is in black and white. I also re-imagine color schemes or colorize things that were never depicted in color. Lastly I play quite a bit with textures also bringing it to things that never had texture. It's work because there is a process just like everyone else has. I seek out inspiration. I create, manipulate, add, subtract, color, digitize and use my head and my hands. I discover and illuminate work that was done around the turn of the century and add a bit of myself to it, much like a remixer takes an original song done by someone else and makes something more of it. I do this because I can and also because I love most everything vintage done long before computers and pixels or vectors. More importantly I do it for myself, but also because others enjoy it. It's an outlet for expression. As for racist language, I can see how someone could interpret the word "coon" as a slang for a racial slur. I believe the word coon in this case has more to do with hair patterns on horses that resembled a "coon tail." I can't be certain as this brand was established long ago. I just liked the type. If I offended anyone, my apologies as it is in no way meant to be a racial slur or comment. Perhaps I should remove it if it's going to offend. I do appreciate your inquiries as that's a large part of what this community is about.
@Sean Gallagher I use Microns and depending on the desired effect I'll use brushes. I've also pulled out old-school nibs from time to time, though they're messy. Some stuff is straight up linocut, which can be time consuming. My go to is often Sharpie fine pens. I just like the flow and precision, more importantly the cost.
What's your key to getting the scans to looking so clean? Is there is a certail type of paper you use? Every time I scan one of my inked drawings in it looks rough and like the ink has bled a lot at the edges even though it hasn't. That leads to me needing to entirely redo each piece in PS every time which is incredibly time consuming and inconveinent.
@Jason Carne Keys- I always do a final in black and white line art and not scanned sketches. I take the scan right into Photoshop and immediately play with the levels to get crisp black and whites with as much detail possible. By the way, my scans are always 300 to 600 dpi. I save out a .Tiff and place that in Illustrator. I almost always adjust thresholds and settings when tracing and expanding the .tiff. I do have some saved settings, though. CS6 has a much more robust dialog box for tracing/settings. Always knock out white. My paper of choice for inking is Bienfang Graphics 360 Marker Paper. Loyal to it since college. Doesn't bleed much with Sharpies, Microns and Tombos. Because you're having edge issues you should definitely adjust the levels on your scan. You should slide the darks on the left more toward the center and play with sliding the lights on the right to keep crisp edges. Zoom in on it to see if you're keeping a crisp edge. The settings in Illustrator when you are tracing and expanding art are powerful as well.
by Keith Tatum
This piece was hand drawn and then colored and textured. The original ticket design that served as reference was never produced in color so I worked up a palette with a Victorian-era feel. I also created striping on the type to give it a bit of a gaslight-inspired look. Detailed view attached.
5 months ago
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