(Insert sound of triumphant music and much fanfare here)



A fun idea for the Snailherder's dwelling. Since he is herding around giant snails his home has to move around too... :) 



A bit ago I got commissioned to do a pretty cool mural on the wall of the kid's room in my friend's house. This is how it came out! It looks great with all the kid stuff settled in.



Another concept design for my Snailherder project. I'm trying to channel this "Undead Ancient Celtic" theme for the aesthetics. 



In an attempt to make my main character more BA I thought I'd (very quickly and roughly) flesh out some of the weapons or spells he might use. The one is called "STONE FISTS". By manipulating the rocks around him he conjures two large stone fists that echo his own. 


SNAILHERDER (the game)

Uh oh! This video game business may have awakened something in me. I've been messing around with a picture book idea for a while but I think it would make more sense pitched as a game perhaps? Here is the original drawing and some of the early, early stages of concept art.

SNAILHERDER houses.jpg
SNAILHERDER level blueprint.jpg


I played an RPG called "BASTION" this weekend and it was so beautiful. RPG's and side-scrolling platform games have so much potential to incorporate beautiful imagery. Mainly because the game mechanics rely on 2D imagery that a single illustrator could create. I was so inspired by the aesthetic of the game I wanted to try my hand at this kind of designing. So here is my shot at drawing a few components in isometric perspective that could fit together interchangeably to create a level. Of course this is all hypothetical but I just wanted to see if I could do it. I love story so much so I naturally gravitate toward book illustration but there is so much good story in video games these days I can't help but wonder if my style would be more suited for the gaming world? 

GAME ART 2.jpg


SCBWI has a monthly online exhibition called DRAW THIS! Here is my submission for February's prompt, "BLUSTERY". In this process series I would like to draw your attention to the second to last and the final stages to see what a difference value and lighting make. Many of us focus on only two steps in our process: 1) Drawing the image and 2) coloring in between the lines. In other words we stop at slide #3 in the series below. This reminds me of the "paint by numbers" kits you could by in craft stores. They gave you a line drawing and a set of paints. Each paint color had a number and each cell in the drawing had a corresponding number labeled inside. When you put all the right colors to the right numbers you had a colored image. When we do this in our own work it makes the coloring stage robotic and tedious. I want to encourage us to push past that to really make the coloring process fun and your own. It's those tasty highlights, reflected highlights and atmospheric lighting ( as shown in slides 4 and 5) that really put the icing on the cake! 


I've been so hesitant to use a lot of line work in my pieces because a heavy use of line and outlines can make images "cartoony" and unnatural. I like the idea that my processes is more about painting and not about drawing. The truth is it's about both. When I speed through the underdrawing stage to rush to the fun color and lighting my images lack solid composition and all that detail that I like to pack in. I'm learning to make friends with drawing again :)  


Here is the evolution of "CORONATION DAY". I've noticed so many of my recent compositions have been very character-based. Essentially I've only focused on a mid to close range shot of a single character, located in boring ol' front and center with minimal attention to the environment. Backgrounds are incorporated but they are after thoughts at best. Each composition looks similar and the visual monotony is hurting my portfolio. So I am switching gears to focus more on environment. As you can see in the first slide it all starts with establishing perspective.


My friends are expecting and have commissioned me for a mural in their soon-to-be nursery! This is my plan of attack on this bad boy. 

  • (1) Rough under-drawing
  • (2) Lay down general colors
  • (3) Add highlights
  • (4) Darken areas for contrast
  • (5) Add all the fun details. 


FAWN is a story about camaraderie among the outcasts. The characters are marginalized for completely different reasons, but there is a strength of friendship that is forged with those that accept you even when society finds you unacceptable.  

For me FAWN was a chance to tell a story well, visually, frame for frame. By using intimate close-ups or alienating wide shots I wanted to bring you into the character's world.  I wanted you to feel what they were feeling, experience what they were experiencing. 

Dialogue-less story is really interesting to me because it is much harder to to tell a story when there is no dialogue. The easiest way to progress a story is to have a character dictate what they are feeling or what they are going to do next. With a wordless comic you do not have that luxury. 

I wanted the audience to feel like they were watching a film more than they were reading a comic. Reading comics can be a laborious activity. There are confusing frame directions and huge word bubbles that clutter the page.  I wanted my viewer to stop "decoding" what they were looking at and instead just let it come at them. 

Enough talk. I would like you to experience it for yourself. So with that I present you FAWN. Enjoy. 


After a long break for christmas I'm back to work on the webcomic. Can't wait 'til it is ready to go live!