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3DTotal: Can you tell us a little bit about your methods and techniques?
Andie: I’ve never really analysed my methods or techniques. I suppose when it comes down to it, I just pick up a pencil and draw. On the technical process side of things though, it’s a bit more thought out.Firstly I read the script and brief, then I thumbnail the pages out really roughly. Then I rough it out with a blue repro pencil at 100% size before going back, tightening up and finishing with a HB pencil. Then I scan it. Oh well, I guess it’s not that thought out after all!
3DTotal: And the colouring - is that a straight forward new layer in Photoshop and then you paint away over the scan?
Andie: Well, I don’t colour as much as I use to anymore. I’m concentrating mainly on my pencils but every once in a while, if I have time, I will dabble in the hues. Part of the reason is because I’m slower at colouring and also, I’m a perfectionist. That tends to go out the window when you’re dealing with deadlines. So I’d rather leave that trait to the professional colourist who can do a much better job than me and do it much faster too. Every colourist has their own techniques. I’ve picked a few up from an excellent artist I work with from time to time: |
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Jeremy Roberts. He was generous enough to share his skills and process with me one time and no, I didn’t get him drunk ...
He’s got a far better understanding about colour tones than I have. He’s a talented conceptual artist in his own right, so out of respect, I won’t divulge too much detail on the process in fear of corrupting the original technique of it.
I have two colouring styles. One is a simple cell shading technique, and the other looks a bit more painted. I use Photoshop and Painter to achieve my end results.
With the cell shading technique, as you mentioned, it is a straight forward new layer in Photoshop. I start by colouring in all the base colours on one layer, then I have one layer for shadows and one layer for lighting. I use the effects that Photoshop provides for the shadows and lighting such as multiply, overlay, soft light, etc. At times, I tend to work on multiple lighting and shadow layers just to give the piece a bit more depth and detail. So don’t feel like you have to restrict yourselves to one layer of shadow and one layer of lighting. This is just my guide on how I work. Always adapt and explore to suit your particular needs for the piece.
With the painted style, I still complete the cell shading process in Photoshop as above, but then I bring the piece into Painter to blend, tweak and add new colours. |
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3DTotal: Do you have any particular trademarks as such within your art, so people can say “that’s a Tong, right there!”?
Andie: I draw really, really, really good. Just joking. No particular trademarks as such. I think people are slowly but surely starting to notice my work, but not through any conscious effort of mine to have a trademark. I guess I’m hoping that my art will speak for itself. I’m influenced by a lot of artists. Masamune Shirow, Kia Asamiya, Adam Hughes, Chris Bachalo, Mike Wieringo, Arthur Adams, Joe Madureira, Jim Lee, Todd McFarlane and Humberto Ramos are just some of the artistic idols I aspire to. Over the years, I’ve tried to blend great aspects of each artist within my own work in the hope that one day the art will evolve to be my own. I guess you can define my art style as a culmination of lots of different great artists. I’m not sure if it’s actually working or not. I hope it is. |
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3DTotal: If you could transport yourself to any location instantly, where would you go to gather your thoughts or to paint?
Andie: I would love to have a glass studio deep underwater on the ocean bed, surrounded by marine life. Or an office outdoors in the sunshine, with a cool breeze, where I could listen to the ocean waves but also be by the forest at the same time. But obviously protected in some ways from the natural elements, as I don’t think wind or rain mix particularly well with paper or computers!
So I guess in practical terms, I would have to have two different locations. One for thoughts and one for painting and drawing and such like.
For thoughts, I would still like to be out among nature. The forest or the ocean would be ideal. The next best thing for a working environment would be to have a huge studio with french doors and glass windows, overlooking the ocean on one side and the forest on the other, with all my resources and references on hand. What? Isn’t that everyone’s dream? |
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3DTotal: That deep underwater location sounds awesome, you should build that and invite me! Maybe arrange for a few gorgeous mermaids to swim around outside too, then I probably wouldn’t leave either!
Andie: I suppose you could pay rent since it’ll probably be a high maintenance facility. I’m sure there would be water leakage every once in a while to fix!
Seriously, its been great talking with you. We really appreciate all the time and advice that you’ve given us, especially considering your schedule. Keep in touch and keep that great artwork flowing our way!
Credits:
©2008 Copyrighted characters shown are properties of their respective companies. All rights reserved.
Colours provided by Jeremy Roberts, James Offredi and Val Staples. |
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