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Superchicks – Still Available.

Full report on the show still to come, but here’s what’s still up for grabs. First, the metalflake paintings:

And then the sketches (all 8×10 inches, $50 apiece):

If there’s something you’ve got your eye on, let me know ASAP (prices do not include shipping). And if you’re interested in commissioning something you don’t see here, also let me know.

Thank you and goodnight.


The Koi Show – What’s Left.

Expect a full report on the show in a few days, once I get all the photos and info sorted. But in the meantime, a few people have been asking if there are any pieces still available.

And the answer is, yes:

 

Each piece is 8×10 inches on 140-lb. coldpress paper. The price is $70 each, unframed. If you’ve got your eye on one, drop me a line at howyadoin@gmail.com


And then it was April.

Here we are, a quarter of the year already done. The first big show of 2013 is over (and a damn successful one it was), and two more are in the works. Longterm strategies are being developed, and new venues and opportunities being explored.

Creatively I feel incredibly positive. The ideas just won’t stop coming, I’m happier with my drawing skills than ever before, and I keep thinking of new variations on my metalflake technique. This in particular is pleasing, given that I’ve finished 102 of these paintings and currently have another 17 in the works (obviously I don’t ever¬†want this to turn into some sort of assembly-line process; frankly I think that having assistants do the bulk of your work for you borders on the fraudulent).

With the Hot Pink show and the Christmas Metalflake series, I played around with the technique, sometimes out of necessity, and other times just out of curiosity. I did several paintings with pulverized Christmas balls worked into the strata for texture and reflectivity. And the other day it occurred to me that I could also use gold leaf in my backgrounds.

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This experiment turned out even better than I’d anticipated. And it got me thinking about some other new possibilities.

A few specifics, then, before the conversation takes a turn for the personal. The Ocean Rain show, which you’ve already¬†seen hints of, is progressing nicely. Expect an announcement regarding this very soon – we’re hoping for an early May launch date.

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The show after that will most likely use superheroes and science fiction as its launching point.

After that I’d like to do something with an automotive theme, and of course we’ll be doing something Christmassy as well, in the fall (truth be told, we’ve probably got ideas for a dozen shows). Also in the fall, we’ll be releasing a book and/or calendar of T-Rex illustrations. Three of them are done already, and the Agent and I have been brainstorming on lots more.

TRex_Easter

And by this time next year I want to have my work in galleries.

So, enough business. Let’s talk about what else has been going on. Last year, as documented again and again (and AGAIN), felt like some sort of trial to me. One trauma after another, month in, month out. By November I was a bit of a mess.

I can’t pinpoint any one specific moment when the game changed (unlike, say, in 2011), but a lot of minor victories added up to help pull me out of my funk.

And this process continued through January and February, to the point where I finally feel like I’ve gotten my groove back (I won’t lie; I was extremely worried about that, and for a long, long time). Friends and family have done their part to help, chance encounters have led to new opportunities… and inspiration? Inspiration is EVERYWHERE. I’m on fire creatively.

I’m back, baby.

Bret Taylor
Vancouver, BC
April, 2013.


Sketchbook Diary Update

I’ve mentioned this before, but I picked up a nice little sketchbook from Zequenz back in the spring, and I take it with me whenever possible. I like documenting simple, cool little things when I’m visiting friends, or in a restaurant, etc. It’s become a visual diary to mark little events (and big ones too, I guess). Very nice smooth-finish paper in it, and the book will fold flat when you open it, which is nice for both drawing and scanning.

It also keeps me drawing on a regular basis, which is crucial. I’ve found over the past couple months that it’s really helped crystallize my drawing style. This actually caught me by surprise, because I’ve never really tried to find a specific style.

And yet, it seems to be happening, and it feels damn good.

Not long ago we were barbecuing at a friend’s place, and I saw a wooden giraffe that I just had to draw:

Giraffe

I definitely want to pursue more art along these lines.

And then just last week I was hanging with some other friends, watching Misfits on Netflix and pigging out on Wendy’s. At some point I looked around for something to draw, and saw an Imperial Stormtrooper helmet. These are pretty ornate pieces of design work, so there were some minor challenges to drawing one.

But I like how this turned out, and it was probably only 10-15 minutes’ work:

Stormtrooper

More to come in the future.


Details, Details.

So now that my book is nearly done, I need to start looking at the specific details for when I get it printed. For instance, there are two different paper stocks I can use: the 80-lb. matte-finish “traditional” paper, or the 100-lb. silk-finish premium stuff.

Personally, I’m leaning towards the premium, because it’ll look and feel better, and it only adds about three bucks to the price of a single book. It is 35% heavier, though, so I’m assuming shipping costs will be higher.

Thoughts and opinions?