OIL PAINT

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The ultimate medium for a serious painter. Through the ages artists have chosen oils to express their message, each in his or her unique way. The colours last for centuries. Their malleability, coverage and sensitivity make oils an irresistable challenge. The smell of turpentine and linseed oil inspires great ambitions. Very rewarding and forgiving, our portfoilo of paintings would probably have had many more oils in it but for one reason, it is seldom used in commercial illustration because of the time lost to drying.

ACRYLIC ON CANVAS

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Most of these acrylics were painted on canvas covered board. To mimic the painterly brush texture of oils, we build opaque layers. Richness of colour is only evident after the third or fourth application. Thereafter the colours begin to come alive with depth and gloss. Shaping and moulding becomes easier too. Painting the initial layers in broad strokes directly under a projection of your sketch will help accelerate the process. Patience in the beginning is rewarded at the end.

ACRYLIC ON WOOD

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The random grain of wood adds a sensory dimension that delights and intrigues. We use wood to enhance the effect when a sense of craft is required in an illustration. Whether it is historial, naive or primitive the recognisable texture of wood lends an authenticity that can't be faked. We've worked on plywood surfaces successsfully. Each board is unique. Broken edges and knots contribute to the handcrafted impression. We like to prepare the board with a light grey base and rub a burnt umber into the seams and cracks to bring out the grain.

ACRYLIC ON GESSO

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What is so gratifying about this technique is that the strokes you made in the gesso create a lovely free rhythm running through the surface even when the illustration itself is quite tight. The texture can be brought out by deepening the recessed grooves with a tone then rubbing the the paint off the ridges before it dries, then further emphasised with drybrush highlights catching the ridges. Where content detail needs to be clear, working with a fairly liquid viscosity can eliminate interference from the texture.

ACRYLIC ON BOARD

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Masonite board or illustration board is called for when an illustration is detailed and a base texture would interfere with the clarity of the fine work.The work done with the brush becomes the focus. The working surface tends to become quite slippery, the slick finish lacks friction. Great patience is required to build up washes to a workable level. Opaque undercoats in appropriate colours will create a good starting point on a piece with saturated colour but become sticky if not allowed to dry sufficiently.

MIXED MEDIA

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Today most of our illustration work falls into this category. To compete with the convenience of stock art we've had to find ways to work faster. We try to retain the human-craft element in our work wherever possible, so often combine traditional and digital techniques. Some combinations work better than others. We are of the opinion that digital art tools, though improving all the time, still lack the surprise and gravity of traditional art. As the cyber vista encroaches the truth of "real" art leaps out and we feel it in our hearts.

WATERCOLOUR

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It's your choice whether to use watercolours wet on wet or dry or in combination. The accidental results of working on a wet surface delights even the cynic. A cathartic experience for the viewer and producer alike, watercolours are refreshing, organic and free. More controlled and precise they bring a sensitivity to the piece that few other mediums are able to achieve. If used in a free manner watercolours are an economical option because a satisfying product can be produced relatively quickly.

SCRATCHBOARD

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Scratchboard, or scraperboard, today is considered one of the best solutions when printing in newspapers. It's clearly defined edges and solid mode adapt well to the conditions of the absorbent stock and dodgy registration. Scatchboard lends itself to ethnic or primitive themed subjects, it can be styled to look like linocut or woodcarving. As a spot illustration it complements photography. We like to see it in a deep etched format where the negative areas flow into the illustration area itself, binding it harmoniously to the page surface.

PENCIL CRAYON

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Pencil crayons are great to do small sketchy types of illustrations. Sometimes we tighten up to get a finished sculpted look but mostly we like to work quite roughly, with the strokes meshing together and overlaying each other in a way pleasant to the eye. The scratchy line adds movement to a frenetic scene. The combination of graduated areas with linear work looks good. The effect of overall softness is similar to that of watercolour but with more texture. Pencil crayon work moves along fairly rapidly so is a good alternative for the restricted budget.

PENCIL

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We've divided our pencil work into two parts, these are fairly finished drawings. The feel is so different from sketchy roughs. Nothing shows an artist's true talent as clearly as a drawing. As far as we're concerned, no drawing, no artist. Drawing is the foundation of the realisation of an idea. To draw is to explore the shape and form of your subject to know it better, to respect it, so as to show it to the best advantage. Several of these drawings were redrawn from renaissance sketches, hallowed ground to us and what a place to learn!

CHARCOAL

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Drawing with charcoal is fast, immediate and messy, if that doesn't scare you off the results can be very exciting. It can be scratchy and frenetic or it can be flowing and fluid. With lots of possible textures (the paper or the artist's style), and subtly graduated shadings, charcoal achieves quick coverage. Defining the the form of the subject can take a little longer in a more finished piece. Combined with other media charcoal gains a depth that fascinates and intrigues. Ideal for an earthy, gritty effect that will stand proud of the digital crowd.

CHARACTERS

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When we have been asked to produce characters it's because we have such a variety of approaches that we are selected. Generally character developers have a specific style. Our style is adaptable and we can modify our techniques to suit the project. Although we'd love to offer 3D modelling, even when handled by an expert, it is a time consuming process that is only economical if the character is to have a long life and be extensively utilised. 2D suffices in the average situation, it is in this area that we are proficient.

DIGITAL RASTER COMING SOON

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DIGITAL VECTOR COMING SOON

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