• NYCC 2013

    NYCC 2013

    NYCC was last week and I hadn't planned on being there.

    As it happened, Erin was going to New York on a business trip and I was going to tag along. About three weeks before the show I realized the dates overlapped and I sent a dumb question email to a contact asking about the possiblity of a table. They had a cancelation and so at the last minute I was a able to get a table.

    It was a great show as you'll see below. 

    Here follows an account of NYCC in Vine and Instagram form.

  • Goodbye, LNR blog. pt. 5

    Goodbye, LNR blog. pt. 5

    Behold! The fifth installment in my farewell series to my old blog, celebrating this new blog and new site. As mentioned before, I'll be highlighting the best (at least most representive) posts that year from the old blog's almost nine year history.

    In addtion to that, all this week on my shop you can check out with the code "GOODBYEOLDBLOG" at my shop to get 15% off your order!

    Also! The digital version of my book, The Hidden People (previously $5) is pay-what-you-want.


    2009 was another big year and laid the ground work for how I still do things today. That year saw my Grimm series (which remains some of my most popular work to date) as well as my second sketchbook, Princesses, Monsters, and Things That Fly. Finally, May 1st saw the release of my grand idea to create a collaboraive collection of invited artist's interpetations of Maurice Sendak's Where the Wild Thing Are. 

    Without further ado, here are three posts coming back to you all the way from 2009.


    March 11, 2009.

    The Three Billy Goats Gruff. Here is a piece that I feel gets it. It gets exactly what I wanted now and what I wanted 5 years ago sitting in class. I enjoy public speaking and I took a story telling class in college -- one of the most enjoyable classes I ever took -- but that's not what this is about. What it is about is a doodle I did on the back of my notes for the chapter of Peter Pan that I performed.

    But alas, here is where the story turns to ruin and ash -- I have failed you all -- I can not find this doodle. That's inconsequential you may say, it's just a doodle. Maybe it is -- but I know I have it somewhere! I know I've seen it around my room somewhere. I spent an hour looking for it (and finding all sorts of interesting things from my time in school) but could not find the doodle in question.

    The reason I wanted so badly to show it to you is that more than anything, this new Billy Goats piece is a fulfillment of that doodle, almost word for word, visually speaking. But alas, I can not.

    UPDATE! 10:05 AM

    Morning of mornings! I dug through a few folders here at work and I have found it!

    The original idea!

    * * *

    A couple years ago, Justin and I started working up a treatment of The Three Billy Goats Gruff. We did some writing and some character development. It was fun but we didn't do too much with it. I was never happy with my part. The ideas I felt were good but I just didn't have the power to do the ideas right. I'll show you some of them here, for educational purposes with the understanding that they are several years old. Please know that.

    Well, that wasn't too painful I hope.

    In any case, I always liked the ideas behind these, even if the final products didn't work out.

    Another thing I like is imagining about the troll. The troll is ultimately more interesting to me than the goat. Justin had an idea that maybe the troll lost a wager with a king and was cursed to live under the bridge.

    I like to draw trolls and monsters. And if you were to ask I'd tell you that I'm pretty traditionally minded in regards to the depiction of trolls, dragons, and monsters. I don't like "fractured" fairy tales or deconstructionist retelling of classic stories. That being said, I can appreciate when a classic story is retold in the interest of looking at the story or characters in a different light -- not when it's done for jokes or poking fun at fairy tale conventions.

    An idea I had about the story (and this is something of a digression here) is maybe the troll is the protagonist of the story, not the goats. The troll is reputable, clean, and decent. He owns the bridge, owns the land. He tends for it, cares for it, but these interlopers, these reckless, filthy goats unseat him and squat, ultimately ruining the land and moving on when its worthless. (Admittedly this probably has something to do with my own thoughts on order and decency as opposed to the Marxist notion of the inherent virtue of the under-privileged and the inherent vice of the privileged.)

    Ultimately this is not the route I chose to go with for the piece, I went with the traditional. Though in my piece the troll isn't bad, just annoyed.

    * * *

    The thumbnail.

    The rough.

    The color comp.

    The pencil.

    * * *

    As always, none of the work I've posted yet is a finished, final piece. These are final drawings and final under-painting but they are all just steps in the process.

    I'll be revealing the final work at the show opening.

    In production news, I am now in real time with these posts, a head by a little. Last night I completed The Three Billy Goats Gruff. Mark your calendars, April 3rd, 2009. I hope to see you there!

    Here is the official show poster with all the important information :

    * * *

    * * *

    The Troll
    from The Three Billy Goats

    * * *

    Next post : Daga and the Flying Troll of Sky Mountain, or a beautiful Swedish folk tale I'd never heard of before.

    * * *

    July 30, 2009.

    The thing that I am most proud of that I got together for Comic-Con is my 2009 sketchbook, Princesses, Monsters, and things that fly.

    I love sketchbooks. They comprise most of what I pick up at conventions. They're a glimpse past the finished pieces and into the actual inner workings of an artists brain. To me they're a record of where an artist has been over a given year.

    That being said, I began to see a few themes or recurring imagery emerge over the course of the last year, namely, I drew a lot of princesses, a lot of monsters, and a lot of things flying.

    Erin suggested the name Princesses, Monsters, and things that fly and it stuck.

    My 2009 sketchbook is really more than a sketchbook, and that's why I believe I'm most proud of it and maybe that's why "sketchbook" isn't exactly the correct word for it.

    Truthfully it's a collection of where I was from July 2008 to July 2009 -- it's finished drawings, scanned pages from my actual sketchbook, some finished paintings (small prints, really) and even a few storyboard-like sequences. 44 color pages, cover, paperback, saddle stitched.

    More than any thing, I'm most proud of this little book. I hope you will like it too.




    For more on Terrible Yellow Eyes follow the link to the site and see the over 200 contributing artists!
  • Goodbye, LNR blog. pt. 4

    Goodbye, LNR blog. pt. 4

    2008. The year I got my act together. We've reached the fourth post in my farewell series to my old blog, celebrating this new blog and new site. As mentioned before, I'll be highlighting one post a year from my old blog's almost nine year history.

    In addtion to that, all this week on my shop you can check out with the code "GOODBYEOLDBLOG" at my shop to get 15% off your order!

    Also! The digital version of my book, The Hidden People (previously $5) is pay-what-you-want.


    Like I mentioned above, 2008 is the year I got my act together. 2008 marks the completion of not only my first sketchbook, my first personal project, but also my first (unpublished) completed YA novel manuscript. It seems only right to highlight posts detailing all three of those projects.

    The first, my (unpublished) YA novel, Jack & Inar. 

    The above picture is from this post on May 21, 2008.

    Chapter Three: “Filthy!”

    In which the proprietor of the establishment extols the virtues of filth and pink muffins & how his morning came crashing down.

    As far as Mr. Adolphus M. Grimble was concerned there could not have been a lovelier sight. He strolled to his seat, loosened his necktie and pulled out the pink muffin he had stuffed in his jacket before leaving for work. Sitting comfortably in his fat chair, his chubby legs dangling above the floor, he munched on the muffin and mused. He sighed a contented sigh and thought a moment, trying to recall a time he had been more pleased. He then leaped (with some difficulty) for the great windows, thrust them open and shouted for absolute joy:


    Chewing on the muffin, he listened to the semi-melodic dull sound of the many smokestacks pumping and machines clattering. He gazed at the fields upon fields of all the towering, billowing smokestacks, and it filled him with shivering delight. But hearing himself speak pleased him even more, and he redoubled his efforts to provide, in his own estimation, a more complete appraisal of the situation:

    “Positively! Overwhelmingly! Magnificently! FILTHY!”

    He adjusted his spectacles, launched a wicked peal of laughter, and slammed the windows clattering shut behind him.

    Yes, yes, this suited his tastes just fine. To Mr. Grimble, filth meant production and production meant filth. And as far as he was concerned, the presence of filth and production were paramount to this operation.

    . . .

    Jack & Inar still holds a special place in my heart. It's 30-some chapters of ragamuffin kids and a giant dragon who, Rip-Van-Winkle-like, slept through the middle ages and awoke during the Industrial Revolution. There's problems with pacing and other parts and I may not be at all interested to draw buildings and smokestacks but still, there are a couple of characters (Inar the dragon chief among them) that might someday merit a second look. Until that day I've moved on to other projects. We'll see.


    This post from July 15, 2008 (abrevated a little because it was originally about everything I was taking to SDCC '08) notable in that it features my first (mericfully, out of print) sketchbook.

    Since this first book I've kept up the habit, producing one new collection of work a year.

    * * *

    And the sketchbooks. I'm not sure how much these go for. I don't think a lot. Here's my cover as well as some sample pages. All together there are 16 pages in the sketchbook.

    Ka-pow! Mythology!


    Last, but certainly the least, Ticket. In many ways, Ticket was my first real sketchbook. The untitled 2008 sketchbook was a collection of everything I'd done post-college to 2008. Ticket was a brand new collection of work, a wordless picture book following the exploits of a certain intrepid girl.

    With out further ado, here's this post from  July 14, 2008.


    Ticket is here.

    Those of you who frequent this blog will likely recognize the protagonist as Lily von Silvie Lenore, someone I've had with me for the past 6 or 7 years.

    Lily von Silvie Lenore
    Curious Events

    Curious Events is a small book I made, printed and simply bound, for my wife (then girlfriend) and is one of my most closely guarded works. Ticket is a continuation of that story.

    To me, Ticket is sort of like a postlude to the Curious Events story. There are four stories in my (yet unreleased) "Library of Curious Events."

    Not necessarily essential to the overall story but more of a distillation of the tone and feeling of the books. Another enjoyable visit, for me at least. Curious Events in the abstract -- if that makes sense.

    From the teaser itself:

    Ticket is a story in pictures and a collection of all things Cory loves to draw. From windmills flying above grassy hills to massive birds landing in Grecian vineyards, Ticket follows the story of a girl, her hat, and the curious events which transpire.

    * * *

    More than a year ago, I made a list of most of the stories and ideas I had going on at the time. I've kept it tacked up on my desk. Here it is:

    If you notice at the top there's a doodle of little boat and an idea called "The Ticket"

    That was the first idea for Ticket as it is now. But I can trace that idea to this drawing I did the summer between my junior year and senior year of college:

    I've loved clock towers and boats for a long time.

    * * *

    When the time came to start I made a list of everything I wanted to try and include and made notes and thumbnails. I spent several days deciding what I was interested in putting in it, what sort of things I wanted to do. I spent a while. I finally condensed the thumbnails to 13 spreads.

    I then took a Saturday and sat on the couch for about 10 hours and went through each thumbnail and made a bigger, more realized thumbnail.

    * * *

    Once the little story worked and I had everything I wanted in order, I set to work on the drawings.

    They took about a two weeks to get through. I was working on a pretty tight deadline. On top of that, I could only work on it all at night. Unfortunately, there wasn't time in my work schedule to do this during the day so all production on Ticket was done at night.

    I'd work like crazy at work on these three commercials at work then come home and do Ticket. It never once felt like a chore. Work did, but not Ticket. Ticket is something I've been wanting to do for a long time and I'm just thrilled I get the chance to see it in print.

    * * *

    Once everything was drawn and scanned,

    I set to work on the painting. This is probably the part I live for. I taped all of them down on boards on the floor of my room (not floor boards, boards laying on the floor -- don't be confused) and got to work.

    I made a couple all nighters in the production of Ticket. These paintings represent one of them.

    * * *

    The next night I scanned them all, complied them in Photoshop, and called it good.

    I think I took two nights to do the post-production finishing work. I think. Things started to get fuzzy towards the end.

    * * *

    They put it all together and sent it off. Then the proof came back.

    Check out here for my post about the proof.

    A few more days of waiting and now it's all done.

    * * *

    Ticket's here. I'm glad. And I hope you will like it.

    * * *

    $ 12

    (link to the main store -- click on the "Publishing" tab at the top)

    Check out our little commercial above. It takes you through the book page by page. This is a book trailer of all 28 pages of Ticket for you to see. Music written by Matt Silver.


    Ticket is now out of print.

    And with that, 2008 draws to a close. The year was notable in that it was my most blogged, 225 posts, as well the first year I exhibited at San Diego Comic Con and marks my first inviation to the Flight comic series.

  • Goodbye, LNR blog. pt.3

    Goodbye, LNR blog. pt.3

    2007. Can you even believe it. Here follows the third post in my farewell series to my old blog, celebrating this new blog and new site. As mentioned before, I'll be highlighting one post a year from my old blog's almost nine year history.

    In addtion to that, all this week on my shop you can check out with the code "GOODBYEOLDBLOG" at my shop to get 15% off your order!

    And new, starting today! The digital version of my book, The Hidden People (previously $5) is pay-what-you-want.

    Ok! The year 2007. Two posts stood out to me as I looked back through. One from January, one from Decemeber. It seemed only right to highlight these two bookends. 

    The first is the image at the top, Dandelion Embers. This is the piece that I feel like "got it" for the first time. I can trace my current working method back to the things I was discovering at this time with this piece.

    The other is one of my all-time favorite projects.

    Here now is that re-post from the old blog:


    Monday. December 17, 2007.

    About a year ago, a friend of mine sent me a link to a video. The video had a junkyard that got struck by some lightning; flash, boom, and a hulking robot was born. It stomped into town and everything seemed lost, or at very least turned into aluminum foil.

    And then, sharing. Sharing stopped the madness. Rainbows and kindness. This was a Zune-Arts film, and they are all about sharing.

    Long story short, I was contacted by the extraordinary people at 72 and Sunny, the creative minds behind the aforementioned robot piece and the other Zune Arts films to make one. They saw The Ruin of the Beast on YouTube, liked it, and got in touch.

    Some of you who have visited the studio in recents weeks have seen some of the work in progress. Here's some of the work and a brief history of how this project came into being.


    72 and Sunny came up with this idea: a man who finds this magic poiton which either keeps him from aging, or makes him grow younger. And he doesn't share it. All the Zune arts films are about sharing and they wanted to explore what would happen if you didn't share, and the consquences of that.

    Maybe I'm biased (and I'm willing to admit that) but I believe, this Zune arts film has the best story to date. The narrtive accomplishes so much with absolutely no dialogue. The pictures would mean little to nothing without the story. They might be nice to look at but without the narrative behind it, a clear direction and story, there would be little point outside of an aesthetic exercise.

    I believe le Cadeau du Temps has the most depth of any of the other films, due largely to the fantastic story telling of Charlie Stephenson, the writer.

    Glen, the Creative Director of 72 and Sunny had this to say about the piece,

    "This is a departure from past films on a couple of levels: Visually it has a timeless, organic and decidedly un-CG quality. And the story is more complex and dark. Perhaps the only Zune Arts film that shows the ill effects of not sharing. Really excited about what Godbey has brought to the table."

    - Glenn Cole, Co-Founder / Creative Director, 72andSunny

    Man finds elixir, man doesn't share, man lives forever, man regrets, wants to make it right.

    As simple and beautiful as that.

    Up front they told me that they were open to any suggestions I had. To not only work on such a fantastic project but to be able to have an degree of input over the direction was fantastic. I spent several nights running over the ideas in my head before I put anything down on paper. They had sent me a challenge: how does the old man actually get the potion, how does it work, and what happens after.

    We had established he found/got this potion, he wasn't going to share it, he'd live/exsist for hundereds of years and then come to think about his actions. The orginal treatment had a slightly different ending-- I'd had an idea about that part, but I was saving it for the storyboards.


    Typically, anything I've worked on that requires storyboards I write everything out first before I draw anything. Line by line, point by point. Helps me to get my head around everything.

    We spent awhile on the storyboards and they went through several revisions before we settled on the story exactly. But the deadline was very tight-- while I was working on the storyboards I was also working on some of the final art work.

    The storyboards I made completely in photoshop. I have a template of frames and I just copied them and drew. I drew them quickly and roughly. Here's an example:

    We went through several stages of storyboards. Several versions with minor changes. But here is the first, original version:

    The first, original round of storyboards

    At one point the "Walk Through Time" as it came to be called, had more "clever" transitions. Ultimately these didn't help the clarity of the story as well as we hoped and we returned to the original idea of cross-dissolving backgrounds. I like this because it makes it feel more like a play and feels more honest somehow. Here's an example of some of the "transitions."


    72 and Sunny referenced a film for the visual look for this commercial that I'd never heard of called The Adventures of Prince Achmed.

    A little researched yeilded a volume of information, clips, and images: Prince Achmed is a 1926 animated film by the German animator Lotte Reiniger. It is the oldest surviving feature-length animated film. It featured a silhouette animation technique Reiniger had invented which involved manipulated cutouts made from cardboard and thin sheets of lead under a camera.

    I bought some black construction paper (fresh out of thin sheets of lead) opened my box of x-acto knives, and set to work. I created several sample pieces for the team to see and get a feel for my interpretation of the look.

    Originally everything was going to be paper cut-outs but (if I remember correctly) their art director liked my storyboards so much that they wanted to take it in a slightly different direction, visually. They liked the rough look of the boards and wanted to apply it throughout. This was just fine by me; it made my job easier. It meant that I'd be able to be freed up from cutting a new silhouette for every frame (or making a puppet) and I would actually be drawing more in photoshop. Which would ultimately be quicker and make the deadline more within reach. In the end it was mix of tradional paper cut-outs and photoshop drawing on top of that.

    This new direction in mind, I reworked my sample pieces and resubmitted them.

    With the greenlight to the art direction and the storyboards finalized, I was set to finish the all the artwork needed to make the film (several dozens of pieces; backgrounds, characters, background characters, enviroments, props, flying machinces, robots, you name it) and start animating.

    Before I talk about that however, I wanted to post two very early animations I made first off just to show the team at 72 and Sunny. I was ridiculously excited to work on this project and it spilled over into a few pieces that I was just wanting to experiment with. These aren't all that significant on their own, they are just tests.

    Here is a brief original, pre-production animation test.

    The final animation.

    I've developed a really backward way of animating. It's painstaking and tedious but it delivers a look that is hard to duplicate as quickly (by comparison with other stop-motion techniques) and the quality of movement you get is unique.

    Michelangelo di Lodovico Buonarroti Simoni, who may just be the single greatest artist who ever lived, is quoted to have said, "Genuis is eternal patience." Maybe that's true he said it and maybe it's not but it sure sounds good. All I know is it takes some form of eternal patience to do animation. It's tedious and it takes forever but you get to see things move.

    I take files in photoshop and then I nudge the layers ever-so-slightly. Then I take a screen capture. And I do it again. And again. And again. The Ruin of the Beast had over 2,000 individual frames of screen captures. This "le Cadeau du Temps" had around 1,200. While there's less frames (because the Beast was 4:30, this is 2:30) "du Temps" was a significant step up in many, many ways. First off there was people in it. That was mind-boggling to think about doing. Secondly, the knowledge that this Zune ad was going to, very likely, have a much wider audience than the Ruin of the Beast ever did. The Beast made it to YouTube; Zune Arts has had pieces featured in the MoMA. Thirdly, it's HD. 1920 x 1080. The Beast is half that. Still it's a higher resolution than standard DVD quality but because it was a much more personal project I could fudge things. I could blow up images and bring them towards the camera, things like that. Pixel stretching. Things that I shouldn't really be allowed to get away with anyway.

    I take the frames and then string them together in iMovie. There you go. Drop them all in and hit play. I'd edit the length of certain frames, make some longer some shorter, but all in all, that's how it works. I exported and rendered the final file in AfterEffects and found the uncompressed file to be 25 GB. Long story short we got an external harddrive and overnighted it to them to deliever the final package.

    What I love about this final piece is how like a play it is. It's set with an almost stage-design mentality. This is due in large part to the source material, Prince Achmed. The flat silhouettes and stage-like set up are lovely, I really do love that Lotte Reiniger animation. The dramatization, the movement, everything is wonderful in the truest, most original sense of the word.

    I love animation and I've watched cartoons all my life. I love the Pixar films better than anything and classic Disney animation is flawless. I loved Bugs Bunny and Hanna-Barbera. Though I grew up on these I never studied animation in school. I made a few flip-books (a dinosaur eating a man, I did one of the Power Rangers-- one of them had a girlfriend get kidnapped by aliens. He called his Zord to come rescue her but it ran out of batteries.) but never anything for real. I credit all the animated films I watched for any sort of idea I have about making things move.

    In the end, this isn't an end-- it's a means by which I hope to do able to do more. I hope it brings in more work like this. I enjoy it very much more than I can say.

    Le Cadeau du Temps from Cory Godbey on Vimeo.


    Here I've spent the majority of the post talking about the "how” of the piece and I didn’t really get to too much of the “why.” I've been asked a few questions about the piece recently and posted my answers as well as a "apologetic" of sorts for some of my choices. Enjoy!

  • Goodbye, LNR blog. pt.2

    Goodbye, LNR blog. pt.2

    2006. Part Two in my farewell series to my old blog, celebrating my new blog and new site. As mentioned before, I'll be highlighting one post a year from my old blog's almost nine year history. We've made it to the second year now.

    In addtion to that, all this week on my shop you can check out with the code "GOODBYEOLDBLOG" at my shop to get 15% off your order!

    And new, starting today! The digital version of my book, The Hidden People (previously $5) is pay-what-you-want.

    Ok! Enought of that. On to the re-post from the year Two Thousand and Six.

    2006 represents my first steps into watercolor and digital work. And this piece is the best example from that year.


    Thursday. September 28, 2006. 


    * * *

    Above is the painting and the drawing of a piece that's been long in the planning, about a year in fact.

    Below is a doodle I did about a year ago for a piece that I wanted to do but after a few false-starts, never made it. I shelved it and pulled the idea out about a week ago. I'm pleased with where things are headed with this.

    The idea started about a year ago, and so I checked the archive of September 2005 to see what I had said about it just in case there was something incredibly insightful that must needs be repeated. But there was nothing. However, September 2005 was a fantastic month for blogging: many watercolors and other treasures, as well as some birds.

    Check it out: September 2005 Archive


    We're back in the present now. This idea is one of those that has stuck with me and manifested itself in different ways over the years. 
  • Goodbye, LNR blog. pt.1

    Goodbye, LNR blog. pt.1

    Dear old blog. How long have you been around? Almost NINE YEARS? What are you even saying, old blog.

    You deserve a proper send off, that's what. 

    This week (and into the next) I'll be highliting one post a year from your glorious history.

    In addtion to that I'll be doing giveaways and special deals off all my shops.

    ALL THIS WEEK, use the coupon code "GOODBYEOLDBLOG" while checking out at my shop to get 15% off your order. Enjoy! 

    Now that's out of the way, let's travel back to the YEAR A.D. 2005.


    Tuesday. September 20th, 2005.

    from The Blue Goblet, by Cory Godbey.

    Scene: The Horrible Goblet Theiving Beast of the Mountain has pilferd the young Queen's favorite Blue Goblet.

    * * *

    "As swift as you might say, the beast was gone and with it Queen Julia's favorite blue goblet. It was not so particular a mug, no it was not; very plain in all respects and appearance but it belonged to Queen Julia and it was hers. It was this fact of belonging that moved her to action.

    In a manner not the least bit removed from her austere regality, Queen Julia took up her traveling hat and cloak in one quick turn of the heel and leaped out the window after the beast."

    Rough color concept watercolors for "the trek."


    I chose this post for a few reasons.

    One. I can see the beginnings of my yearly personal projects here. The Blue Goblet is a three part picturebook that I have written and over the years tinkered with illustrating. My main concern was doing the book right. While it took me until 2008 to get on the track of creating one big personal series a year, one of the big reasons I pushed in that direction was to better myself artistically and increase my "visual vocalbualry" to the point that I felt good about coming back to the world of the Blue Goblet and doing the book I always meant to do.

    Two. It makes me want to do more watercolors.

    Three. Along with these next few drawings from the same year, I feel like it's pretty representive of where I was at, artistically, in 2005. Just out of college. Not knowing what to do with myself, just drawing things.


  • Treehouses


    As you may recall, I used to have a treehouse. It was a "tree" house, I suppose, more like a tiny-one-room-house-that-you-couldn't-stand-up-straight-in-on-stilts. Still, it was my treehouse and of all the things we left behind when we moved this thing might have been at the top of the list.

    I figured it would be years before I had another treehouse. But, as Erin would have it, I didn't have to wait too long.

    For my 30th birthday she surprised me.

    Photo by Aaron Greene.

    Photo by Aaron Greene.

    All my best little friends. 

    Photo by Aaron Greene.

    Some of the good folks who made it possible.

    Photo by Aaron Greene.

    Treehouse wind chimes.



    A new site, a new blog.

    It's been a very long time coming and at last I've got a place that feels like my own.

    I'm excited to have a home for the collections of my yearly personal projects as well as a nice, simple portfolio all under one roof.

    My old blog will still be around as an archive; it's not going anywhere.

    From now on I'll be posting here so update your links and check back if you'd like to follow along! 

  • TLC Workshop recap!

    Behold! At long last a TLC Workshops wrap up.

    The wonderful Tara Chang invited Justin and me to teach an illustration workshop back at the end of August. We ventured forth unto the lands called Seattle and crafted many drawings (and some paintings things).

    From Justin,
    Last week Cory GodbeyIain Mccaig and I did a workshop in Seattle for TLC Workshops.  It was absolutely fantastic.  There was action, romance, drama, pencil drawing and Iain did real-life, actual magic tricks in front of everyone. It was a great experience and if you are wondering if I would recommend that you go to one, then yes. Yes I do.  
    Here follows my attempt to chronicle our exploits and convince you that yes, this was actually the best.

    Don't worry, we are professionals!
    Digital demo!
    Left. Jedi Knight and friend of Capt. Solo, Iain McCaig.
    Flaming death! I mean, Justin painting things.
    Iain making magic tricks.
    Don't mind me, looking a little rough on the third day of class.
    A nice picture.
    Another nice picture. 

    * * * 

    I worked on Alice and the Caterpillar for my piece. Here's a look at the progress.


    Digital rough.

    As you can see, I turned Alice around and had her creep from underneath the mushroom because my digital rough was beyond boring having her facing away from the viewer.

    Finished drawing.

    WIP, Alice.

    WIP, Caterpillar.

    I have yet to complete it but you can be sure I'll post it here when I do. The main thing was demoing my process.

    You can find many more pictures as well as the attendees projects at the TLC Workshops blog.

    * * * 

    This whole experience was some of the most fun I'd ever had and I certainly hope we get to wreck Seattle once again sometime.
  • The Art of Personal Work + 15% off

    My course for The Lamp Post Guild, The Art of Personal Work is launching next week!

    This 10 week program covers my working method for planning and producing a new collection of work every year. It's a process that's become invaluable to me and I hope it will be useful for you as well!

    You can check what those 10 weeks would look like and the trailer introducing the course here.

    Also, you can use the code "
    PersonalProject2013" to get 15% off.

    The class starts on Tuesday of next week, July 16th. I hope to see you there!
  • Motivarti, Fall Semester

    Hey, I'm very pleased to announce that I'm returning for the Fall semester of the Motivarti 10 week mentorship program! 

    Motivarti is an organization dedicated to providing resources, networking, and inspiration for people who create art related to the entertainment industry. Whether you’re a working professional, a recent graduate, or a student, you’ll find lectures, classes, workshops, and events that will broaden your creative horizons. Motivarti strives to bring together an alliance of entertainment artists, as well as providing motivation and resources to support the community.

    Apply! I'd love to work with you. 

    Applications run from July 1st - July 24th.
  • Lyrebird - now available!

    At long last my 2013 sketchbook, Lyrebird, is now available online!


    Here is a video tour of the book. All 54 pages.


    Lyrebird represents the sixth entry in yearly sketchbook series.

    6 x 9. Soft cover, perfect bound. 54 pages.

    Thank you for supporting my work! By picking up Lyrebird you help to fund this and other personal projects like it. I can't thank you enough for that.

  • Story and Pictures - update!

    The upcoming TLC Workshop that Justin Gerard and I are teaching just got an exciting (and massive) update: Iain McCaig will join us for an afternoon!

    Seattle in August, the guy who created Darth Maul, two other guys who saw the movie. I don't know what else you could ever want!

    Space is limited. 

    Story and Pictures with Cory Godbey & Justin Gerard
    Fri-Sun, August 16-18. $500.

    In this dual-faculty workshop, Justin and Cory will cover their illustration processes and approaches to character-driven art. Students will work alongside the instructors to conceptualize and design their own character, craft their visual story and put it all together into a single image. The class will be heavily geared toward drawing and painting traditionally, but Justin and Cory will also demonstrate how they use digital tools to enhance their work (digital artists welcome!).  Limit: 23 students.

    Announcing a Special Guest - the amazing and fabulous Iain McCaig!

    Iain will spend an afternoon with us sharing his process for creature and character creation - a very entertaining and hands on demo.  

  • SFAL 2

    Last weekend was Spectrum Fantastic Art Live, the convention organized by the creators of the celebrated Spectrum annuals. 

    Last year SFAL was, for me, the best show I had ever been apart of. In terms of quality of exhibitors, collectors, and really the whole event, from the awards show to meeting everyone. It was hands down the best show I'd ever had. Going into year two I had terribly high expectations. I'm pleased to report that the Fenners, and everyone involved with making SFAL outdid themselves again.

    As long as it's around, Spectrum will be my big show for the year. It's no exaggeration to say it's everything I love about conventions and none of the stuff I hate. No filler, no entertainment and media, just fantastic work and people who love it.

    Here's a look at our time. Some of these are pictures Erin took, some of them are from other friends.

    Me, Zach, and Justin.
    Zach's going "COOORRRYYY" you can see his mouth do that.

    My 2013 sketchbook, Lyrebird debuted at the show!
    Available online early June.

    Last day of the show oh my gosh

    But, award.

    Behold that triangular object.

    See, one of the great things about getting everyone together for a show likes this is the award show. Saturday night, what amounts to the Oscars of Imaginative Realism takes place at the Midland Theater. 

    This year I'm pleased to report that I was nominated in the Unpublished category and The Fish Master won gold.

    The Fish Master

    David Petersen and me. This is an award winning photograph.



    Zach and me. A nice picture.


    * * * 

    Paul Bonner and Justin Gerard.