IT CANT RAIN ALL THE TIME - Eric Draven (The Crow, 1994) |
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My Inspirations:
What best describes me as a creative person; is that I love creating my own ideas and visions, into drawings and developing them further through writing storylines. I very much consider myself a storyteller.
Growing up, I was enthralled with the world of fiction and it's several ideas and concepts that can't be found or replicated to their same effect in our reality, particularly intense stories and visuals that delve into darker subject matters and elements of complex nature such as mental health, overcoming internal struggles, etc. I was majorly involved with comics, video gaming, animated shows and films, etc. And very much still am. So to find an area in the future where I could potentially bring my ideas into a professional medium.
Outside of University, I have amassed somewhat of a presence online with my animation and art work, primarily within the gaming community from 2014 - 2019 when I was a teenager in my free time, creating fanmade works based on already existing franchises. And am now trying to branch off into original works in art and animation from 2020 onward.
Nowadays, you can see me making concept artwork for my Instagram, Twitter, and Newgrounds pages primarily, with an occasional animation release through my YouTube and Newgrounds pages.
Artists I Look Up To:
James O' Barr
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My all time favourite piece of media is the tragic story of James O'Barr's The Crow. More commonly known as the 1994 film starring the final performance by the great, late Brandon Lee. Whereas a fantastic adaptation, the comic however delves far deeper into the dark subject matter of James O'Barrs troubled and tortured past as he created this graphic novel to cope with trauma. In his struggles after losing his fiancee, and seemingly after having loathed his life, he created an absolute gothic spectacle of a comic book series; in which it stars the anti-hero 'Eric' after he is resurrected from the dead by a crow to avenge his fiancee 'Shelly' after watching her die at the hands of a ruthless gang's murder.
How this comic book speaks to me creatively aside from the narrative; is it's tenderness and heavy emphasis on bold linear detail, and depictions of grief, anger, sadness, and sometimes some moments of genuinely kind human emotion. The comic follows Eric through the streets of Detroit, and all its beautifully dreary and hellish underworld of crime during the 80s where the gothic subculture boomed and classic, cheesy gangster designs were common. These ideas translate really well to the crow's artstyle, as it doesn't bother with black and white, but instead just lets the line work do the story justice, and manages to capture all that detail very well in my opinion.
How it reflects my work, is that I try to consult a specific panel for reference when developing poses, as Eric was very inspired by greek statues and the poses struck by 80s rock stars like Iggy pop, and Peter Murphy.
How this comic book speaks to me creatively aside from the narrative; is it's tenderness and heavy emphasis on bold linear detail, and depictions of grief, anger, sadness, and sometimes some moments of genuinely kind human emotion. The comic follows Eric through the streets of Detroit, and all its beautifully dreary and hellish underworld of crime during the 80s where the gothic subculture boomed and classic, cheesy gangster designs were common. These ideas translate really well to the crow's artstyle, as it doesn't bother with black and white, but instead just lets the line work do the story justice, and manages to capture all that detail very well in my opinion.
How it reflects my work, is that I try to consult a specific panel for reference when developing poses, as Eric was very inspired by greek statues and the poses struck by 80s rock stars like Iggy pop, and Peter Murphy.
Gerald Scarfe
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After having the absolute pleasure of meeting him, I also look up to the work of Gerald Scarfe, who is most well known for his work on the 1990s adaptation of the story of Hercules by Disney. In this film, the greek mythology was given a fun Disney spin, and concept art was spear-headed by Scarfe.
Probably the greatest influence his work had on Disney and future artists who grew up with this film, was probably his depiction of the iconic villain in Hades, and his several henchmen in the film. His work has a very curved, free-flowing style that is instantly recognisable.
His other works, are mainly cartoons about political matters that I personally do not care much for, but given his background in adapting certain media such as Hercules, I still very much admire his work and have felt it's inspiration on me all these years later.
Probably the greatest influence his work had on Disney and future artists who grew up with this film, was probably his depiction of the iconic villain in Hades, and his several henchmen in the film. His work has a very curved, free-flowing style that is instantly recognisable.
His other works, are mainly cartoons about political matters that I personally do not care much for, but given his background in adapting certain media such as Hercules, I still very much admire his work and have felt it's inspiration on me all these years later.
Yuji Ueukawa
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Growing up, I was absolutely enamoured with the Sonic The Hedgehog video game series by Sega; and still am. The sonic IP has spun off from many different medias since the original mega drive game in 1991, as there are comic books, television series, and even a blockbuster series of live action-animated movies recently.
But the one aspect I love most about the games, was the box art and the artist behind them, that being the digital illustrator Yuji Ueukawa. Ueukawa was and still has been commissioned by Sega for a lot of different projects, whether it was the box art themselves, or the many pieces of promotional material on sega's website.
What I love about Yuji Ueukawa's art for Sonic and sega in general, is the attitude of the thick lineart style, and the really aggressive 2000s graffiti styled edge in how it all looks. Sonic used to look much more like a Mickey Mouse cartoon in the 90s, which also served the character well. But when the time came for gaming to turn into 3D; they gave sonic and his cast a makeover, and Ueukawa was the individual who would be responsible for these designs, even having them all be relevant today in various media since.
But the one aspect I love most about the games, was the box art and the artist behind them, that being the digital illustrator Yuji Ueukawa. Ueukawa was and still has been commissioned by Sega for a lot of different projects, whether it was the box art themselves, or the many pieces of promotional material on sega's website.
What I love about Yuji Ueukawa's art for Sonic and sega in general, is the attitude of the thick lineart style, and the really aggressive 2000s graffiti styled edge in how it all looks. Sonic used to look much more like a Mickey Mouse cartoon in the 90s, which also served the character well. But when the time came for gaming to turn into 3D; they gave sonic and his cast a makeover, and Ueukawa was the individual who would be responsible for these designs, even having them all be relevant today in various media since.
Aubrey Beardsley
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Aubrey Beardsley was an influential artist and illustrator throughout the mid to late 17th century, having grown up in Brighton, England.
Beardsley's art style is very akin to that of abstract art, with a slight tinge of gothic influence. He was very important to the aesthetic movement at the time, with his heavy use of thick, black ink linework and patterns that resemble mosaic spirals and bars that create really pleasing texture work to look at.
Beardsley's art was something I was informed in on by a lecturer in my foundation year at university, but I have been really enamoured with the way Beardsley's art looks, and have found my own work replicating the same kind of slight graphical design elements into surfaces like clothing, markings, etc.
Beardsley's art style is very akin to that of abstract art, with a slight tinge of gothic influence. He was very important to the aesthetic movement at the time, with his heavy use of thick, black ink linework and patterns that resemble mosaic spirals and bars that create really pleasing texture work to look at.
Beardsley's art was something I was informed in on by a lecturer in my foundation year at university, but I have been really enamoured with the way Beardsley's art looks, and have found my own work replicating the same kind of slight graphical design elements into surfaces like clothing, markings, etc.
Junji Ito
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Junji Ito, otherwise known as the master of Japanese manga horror, is an illustrator who has been very integral to the horror genre in Japan, with his most recent work being an animated series involving him on Netflix.
When I draw, I have been complemented before for my believable facial expressions and gestures, and I believe it's thanks to Ito-san's inspiration as I had read his manga compilation of previous stories; 'SMASHED'.
The way Ito manages to capture the dread and look of intense facial expressions has had a massive effect on the illustration world of today after the manga boom in the 2000s. But there is also something to be learned by non-manga artists wishing to attempt similar concepts to Ito's work, as the body language and unique horrific imagery can be translated to other media the very same.
When I draw, I have been complemented before for my believable facial expressions and gestures, and I believe it's thanks to Ito-san's inspiration as I had read his manga compilation of previous stories; 'SMASHED'.
The way Ito manages to capture the dread and look of intense facial expressions has had a massive effect on the illustration world of today after the manga boom in the 2000s. But there is also something to be learned by non-manga artists wishing to attempt similar concepts to Ito's work, as the body language and unique horrific imagery can be translated to other media the very same.
Bob Rafei
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Another video game series I had discovered a little bit later I my childhood, this being my early teenage years, was Jak & Daxter, which was largely creatively driven by the art style of Bob Rafei, who is now the CEO of Big Red Button who make VR games for the Rift VR Headset.
What really captures Naughty Dog's older titles are the striking, yet whimsical blend of anime/manga, European folklore illustration and American cartoon styles into one, which Raffia understands how to do in making a unique take on older concepts beautifully. Jak got a lot of criticism for this aspect back in it's debut years, but it's been a point of admiration for me ever since I played and very much enjoyed them over the years.
What really captures Naughty Dog's older titles are the striking, yet whimsical blend of anime/manga, European folklore illustration and American cartoon styles into one, which Raffia understands how to do in making a unique take on older concepts beautifully. Jak got a lot of criticism for this aspect back in it's debut years, but it's been a point of admiration for me ever since I played and very much enjoyed them over the years.
Charles Zembillas
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Charles Zembillas was a character designer for video games, cartoons and comic books back in the early 90s to late 2000s; he worked on titles such as PlayStation's Spyro The Dragon games that were developed by Insomniac, and also from Naughty Dog was the iconic Crash Bandicoot games, which both dominated the market of 90s gaming on the ps1. I personally think it was largely thanks to the immensely unique and stylised designs by Charles, as both of these trilogies boasted cartoon designs that embodied the bounciness of animation that was only capable by his vision, and they both got updated remastered trilogies 2 decades after one another, such later down the line.
He also knew how to depict a character's personality through their colours and demeanour; hence whys pyro has horns because he's bratty or dr cortex in the top left is a tired, decrepit old man who wants to beard of the heroic Crash. Its very similar thinking to how you would approach animation, but only in video game form, and it worked tremendously well as these are still beloved IPs today.
He also knew how to depict a character's personality through their colours and demeanour; hence whys pyro has horns because he's bratty or dr cortex in the top left is a tired, decrepit old man who wants to beard of the heroic Crash. Its very similar thinking to how you would approach animation, but only in video game form, and it worked tremendously well as these are still beloved IPs today.
Mari Shimazaki
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Japanese Illustrator; Shimi Miyazaki, was hired by ex-devil may cry developer Platinum; for a very feminine approach to the character action genre of gaming in the 2009 action video game: Bayonetta. At first it was seen as very taboo, but I think what made it pull through as a smash hit nowadays was Miyazaki's depiction of what rebellious action women in a market dominated by male action heroes with the occasional female supporting role; and what could happen when they are let loose in the world of angels and demons fighting against each other.
Her work is very illustrative, as it looks exactly like a Japanese manga shonen series, which is marketed towards young boys mainly. Her take on Bayonetta herself was to envision a "female power fantasy" in her own words, and her concept art style definitely shows that. Bayonetta definitely looks stylish and elegant, but also very powerful with the use of sharp feathers and guns on her high heels.
Miyazaki's art is very simple, but it definitely manages to picture exactly what you imagine a female-led action game/film star to be.
Her work is very illustrative, as it looks exactly like a Japanese manga shonen series, which is marketed towards young boys mainly. Her take on Bayonetta herself was to envision a "female power fantasy" in her own words, and her concept art style definitely shows that. Bayonetta definitely looks stylish and elegant, but also very powerful with the use of sharp feathers and guns on her high heels.
Miyazaki's art is very simple, but it definitely manages to picture exactly what you imagine a female-led action game/film star to be.
Derek Riggs
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Derek Riggs is largely integral for the image of English heavy metal band (and legends); Iron Maiden. As most cover art for any of the band's discography shows the mascot: Eddie The Head. As he takes a new form, wether its an alien, a tree, a shaman, a grim reaper, etc.
What captures my attention is the sheer creativity and range of concepts and detail that Riggs manages to squeeze in to his art whenever he is hired by Iron Maiden. There is always a story being told with his backgrounds, just about as much as what's going on with Eddie himself. For example; the number of the beast's album cover shows flames rising above a graveyard, where Eddie is shown controlling the devil. It's small interactions with the composition that I strive to achieve in my own work too, and I find it to be really genius approaches to album covers and creating pictures in your head when you listen to their music.
What captures my attention is the sheer creativity and range of concepts and detail that Riggs manages to squeeze in to his art whenever he is hired by Iron Maiden. There is always a story being told with his backgrounds, just about as much as what's going on with Eddie himself. For example; the number of the beast's album cover shows flames rising above a graveyard, where Eddie is shown controlling the devil. It's small interactions with the composition that I strive to achieve in my own work too, and I find it to be really genius approaches to album covers and creating pictures in your head when you listen to their music.
Tim Burton
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Tim Burton is an absolute marvel at visual storytelling, as his filmography can easily tell you from speaking for themselves. But I find his concept art and use of dark, tragic imagery to tell stories to be sorely overlooked in favour of his role as director.
The use of very wire-like lifework with a very painterly texture for filling in grayscale colours, is something I have always enjoyed seeing in Tim Burton's lineup for any film he does concept art for. For example, Beetlejuice, Edward Scissorhands, Corpse Bride, The Nightmare Before Christmas, and Batman Returns would all not be as visually enjoyable if they didn't have Tim Burton's illustrative mind at the forefront to envision such twisted, yet very campy tangibility to their films' visual language.
I think this inspires me in a way that shows that planning ahead and visually explaining yourself is a first and foremost for any illustrator out there.
The use of very wire-like lifework with a very painterly texture for filling in grayscale colours, is something I have always enjoyed seeing in Tim Burton's lineup for any film he does concept art for. For example, Beetlejuice, Edward Scissorhands, Corpse Bride, The Nightmare Before Christmas, and Batman Returns would all not be as visually enjoyable if they didn't have Tim Burton's illustrative mind at the forefront to envision such twisted, yet very campy tangibility to their films' visual language.
I think this inspires me in a way that shows that planning ahead and visually explaining yourself is a first and foremost for any illustrator out there.
Bruce Timm
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Bruce Timm is most well known for inventing his entirely own art style in "Dark Deco", which is most prominent in the skyline of the batman animated series of the 90s. He also invented the third pillar of DC Comics today, that being the character of Harley Quinn.
Bruce Timm's work is mesmerising to me, as he initially started off detailed and very close to the comic book's namesake, but as the years went on began to develop his own angular and sharp art style that I have appreciated the simplicity, yet complexly shaped character designs that has informed many of not only Batman, but most of DC Comic's own lineup today with their animated shows being built off the back of Timm's visual style.
I find Timm's work to be the perfect animation style, as when I animate myself, I often times find that you need a perfect balance of simple and complex; which I think Batman: The Animated Series understands perfectly.
Bruce Timm's work is mesmerising to me, as he initially started off detailed and very close to the comic book's namesake, but as the years went on began to develop his own angular and sharp art style that I have appreciated the simplicity, yet complexly shaped character designs that has informed many of not only Batman, but most of DC Comic's own lineup today with their animated shows being built off the back of Timm's visual style.
I find Timm's work to be the perfect animation style, as when I animate myself, I often times find that you need a perfect balance of simple and complex; which I think Batman: The Animated Series understands perfectly.