Google has a set of photo filters that are really pretty powerful. There are loads of presets, and with ranges of layers that can be selectively controlled.
They say the filters work with Photoshop, Lightroom, etc, but you’ll see that they are installed as stand alone apps; I presume they draw upon Photoshop‘s engine to work their magic.
You will suffer from option paralysis!
Below are a few samples, with names of filters within each set. Captions note which are presets, and which have been modified. One of the most impressive tools in all of these is the integration of control points, with which you can affect specific areas of the image, when a global change isn’t optimal.
This relates to my post yesterday, regarding a drawing of birch trees.
This is the finished inking of a closed in, tangled forest scene I drew last week— album art for a client. This was drawn with pale graphite, then outlined and hatched ten thousand ways to Sunday with a Micron .01mm pen, and finally some washes (a gentle blend of India ink and water).
This piece was very much inspired by an illustration from Comet in Moominland, by Tove Jansson. The final art for the record sleeve is below, as it looks with color layered in digitally.
And below is the drawing prior to the background hatchings and ink washes. I quite like it as a snowbound clearing, but the purpose of this image (for the record) is to underpin a feeling of being lost, and in a dark, narrow place.
If you’re in the Baltimore area for the last night of the Light City Festival on April 8 at 7:30 pm (that’s 19:30 World Time)— do join me in the at the UMBC pop-up gallery in the Inner Harbor for a chat and presentation regarding the importance of multidisciplism (see also: generalism) in the technology-driven world of design these days.
I’ve no recollection of what these plans / designs were intended for; sketches at least 18 years old. Regardless of their erstwhile infamy, I don’t know what the three screens were about, and don’t know to what room these referred. And what on earth is “Model of Strategy”? It had to be for work (“Time to Market” is a phrase I’d never use otherwise. But there’s a midget!? Or I was just taking the piss.)
At any rate, I’m fond of both the spirit and execution of these sketches.
This is a post about a project I’ve been participating in for a few months. It’s a noir-style children’s book in which nursery rhymes meet police procedural. A friend and client of mine, R. Andrew Heidel (owner of famous The Way Station bar), wrote True Crimes from Rhymes Square years ago and finally found an illustrator who was right for the job— Eric Hamilton. They hired me on as the publication designer.
Eric spent months working on loads of thumbnails and sketches to work out the characters (of which there are many), as well as working out the illustrations. He provided me with no less than four thumbnails for each page/spread. I worked with the copy and layout design to arrive at a good balance of text-to-image, and Andy and I art directed during this process.
The book is being produced with the help of a Kickstarter campaign, and will be a sort of work-in-progress limited-edition hardcover, comprised of rough drawings, polished pencil illustrations, and final painted illustrations. It will serve as proof-of concept when Andy approaches publishers to create a series based on this initial story.
A few weeks ago, as I mentioned in this post, I found a discarded table around the corner from my apartment. It’s a modern reproduction, a simplified (straight legs not curved) variant on a Queen Anne style (yay, more QA!). It’s a gaming table to boot, as the top flips over and the obverse is felt-lined. A really pretty and well-constructed piece.
The post referenced above has a few ‘before’ images, including ones in which the Gaming Table aspects are shown, all of which have remained intact after this restoration of the exterior (top and legs only).
Drop cloth in place, the top surface is ready for stripping. Heavy duty gloves and disposable foam applicators, as this stuff is destructive (it will eat through latex gloves, don’t use ’em).
I used the fast-working type of stripper (with windows wide open and fan on on a very breezy day). Slather it on the wood— thick so it doesn’t dry too fast. You have to scrape the coating off while it’s still wet or it gets hardened.
This part is immensely satisfying, all those layers of old finish coming off. I learned as I stripped the piece that several types of wood were used, which explains why it was finished in such a way that looked stained and polished like an antique, but was in fact an opaque, painted finish to hide the discrepancies. That also masks places in which wood filler was used.
After a week of percolating and indecision, an idea for this table hatched and I began the work (unironically) on labor day. I’ve stripped the top surface and all four legs, and have a plan to create a backgammon pattern on the top.
Having seen how beautiful the wood beneath the old finish is, I’ve elected to leave half of the diamond-sharp points natural, paint the other half metallic gold, and the remaining space will be completed with a dark stain— possibly dark walnut for contrast, or I may also try to match the existing finish still on the lower portion, where the legs connect.
My primary concern: How to mask for stain? Stain is penetrating by nature, unlike paint which sits on top of a surface, so tape isn’t going to result in clean lines. After a bit of research, I found an ingenious solution: mask for where I don’t want the stain and spray clear coat there. Those areas will then have a kind of permanent mask, preventing the stain from soaking in.
I plan to polyurethane the whole thing when all’s said and done to achieve a unified surface (as well as for protection), so the ‘mask’ areas will blend away and not look conspicuously shiny.
I’ll not be sawing off its shapely little legs for use as a coffee table—instead leave it as a moveable table / island nearby the windows in the kitchen.