Reverend Blues.

Reverend Blues!

Tony Cortez isn't your normal pastor, he's also a blues musician as well. One good description of him and his music is described as such.

"For many people it’s a natural assumption that the blues is the devil’s music but this is not the case when it comes to Rev. Blues. The Rev. uses the blues as a way to communicate the gospel truth about sin and redemption. His music is not only entertaining but it also helps those who struggle with the daily burdens of life. The Reverend's music speaks about how we can over come life’s obstacles with a little bit of faith, hope and love."

In exchange for a cool custom blues tune for my podcast The Illustrative Designer I agreed to help him out with a logo design.

Listen to the music Tony produced here.

Caving to Frill.

Top: Back T-Shirt Design, Bottom: Front Center Chest - Click to View Larger Image.

The whole design trend to use oranate turn of the century frills and motifs in design isn't anything new. I told my friend 'Shane' who is a master at this style "I refuse to take part in this 'Frill' trend." We'll I've caved. And yes I admit it's fun.

A retired LAPD officer and former SWAT team member hired me to create this t-shirt design for his company. He sells products to police and SWAT members. Those Dover books collecting dusk on my library shelf are finally being put to good use.

The terms used in this design are buzz words popular with SWAT:
- Operator: High Level SWAT
- Tango: Bad Guy and or Terrorist


Detail of Design Textures.

It's hard to appreciate this design at such a small posting size so this image shows how cool the textures look at 100%.

Soaring Vectors - Step by Step Tutorial

I teach a digital illustration class once a week at the local college here in Salem Oregon. Each week I show them how an illustrator goes about creating their artwork. These simple step by steps are provided by the illustrators featured and document their own creative process in an easy to view format. It allows my students and other industry peers to see how various artists work from concept to completion in a variety of styles.

This week I created one I am calling 'Soaring Vectors' which documents a recent sports mascot project I worked on. This weeks download includes '18' step by step images and commentary for each step is thoroughly provided in the Notes.rtf file included. This allows the viewer to print out the notes for future reference and read while viewing each step of the process. You can download the step by step tutorial here. (4.4mb).

I have created numerous step by steps on a variety of projects I've worked on over the past year. Eventually I'll have all available for download soon from a specific web site I am still fine tuning. This will also include all the shared creative processes by other artists too. If you'd like to be featured or share your creative process with my class shoot me an email and I'll tell you what I need. Full credit and links including a small bio is included with each artist featured. At this time approximately 600 creatives in our industry view the weekly content.

PS: Yes I bite my finger nails. Nasty habit I've never been able to break.

Illustrative Design

First off I have to give a thank you to Erin Potter fellow HOWie who drove to the location and took reference pictures for me on this project.

Over the years those not in our industry have asked me "What do you do for a living." It's always been interesting how they respond when I tell them. Doesn't matter if I say 'Graphic Designer' or 'Illustrator' they tend to bake it down to a comment like "Oh, OK so you draw pictures." That may bug some but I don't mind it at all. In a way it's accurate. But I've coined my own phrase to describe what I do and I feel it fits better. I refer to myself as an 'Illustrative Designer'.

Some of you might be wondering "What is an Illustrative Designer?" well this artwork is a good example of 'Illustrative Design'. Too many view 'Illustration' merely as a supportive role within 'Design'. I think this is ignorant at best. I view each as key elements in my own creative process. I am making design decisions when I illustrate and I use illustrative solutions when I design the two are fused together and one without the other suffers creatively.

On this project I was hired by a branding firm to take a real life statue and create an illustrative iconic mark for use on a branding project for a small town. It's an illustrative approach but it also took many design centric decisions along the way as I created the artwork. If you viewed the real statue you'd notice that no matter what angle you viewed it you wouldn't find this exact pose. I purposely designed the pose to reflect the statue but paid attention to detail on how negative space interacted with shapes, what detail to emphasize, simplifying detail so it works small and can handle dot gain etc.

There are many overlapping aspects of illustration and design and the more a designer can learn to capitalize on each and let them mingle together the more diverse their work will become.

Mocked up Usage (The firm used it in their own motif, I just did this to show an example of usage)


Detail Image


PS: Later this summer I'll be launching a pod cast called 'The Illustrative Designer' where I'll talk more about this relationship, interview those who do it best, share insights, tips and tricks and other fun stuff. You can bookmark now and if you'd like to be a 'Creative Correspondent' for the pod cast shoot me an email and I'll let you know what that is all about. Or if you want to suggest a person to be interviewed I'd like to hear about that as well. podcast@vonster.com

Vector Basic Training

Vector Basic Training Book.

I want to apologize for the delay in my new blog being launched. It's been designed for well over a month but unfortunately the developer I'm using has dropped the ball so it'll be a while longer, but will launch within January.

In the meantime as a way to say "Thank you." to those who read my blog. I'm going to do a FREE giveaway of my newest book called "Vector Basic Training." (VBT) I'm already doing another FREE book giveaway on the VBT Facebook page and this one is specifically for my blog readers, but don't let that stop you from participating in both if you wish.

I won't bother posting all the details about the book here, you can read about that on my web site. All you have to do to be included in this drawing for a FREE copy of the book is to comment on this post. I'll than draw three winners this coming Friday and will list them at the bottom of this post.

B Level Acting Skills.

When I came up with the idea for the video intros I didn't think the publisher would take me seriously. But they did, and we had a lot of fun with them as you'll see below in this promotional plug for the book. You can view another video posted on my web site here.

So what are you waiting for maggot!? Post a comment now!



Winners of the FREE VBT Book Giveaway!

My oldest daughter Savannah drew names out of a hat and the following three people were chosen.

- Jeff (No Last Name) This Jeff.
- David Sizemore
- Ronda Couch

Each of you have 24hrs to claim your FREE copy by emailing your snail mail to info@vonster.com.

FYI: I'll be doing a workshop at the HOW Conference in Chicago this summer on "Vector Basic Training" so if you're planning on going I'll be demonstrating the methods I cover in the book.

Thanks everyone.

Robot Love

My Toy Robot Collection.

My fascination with robots started in the summer of 1977 when Star Wars hit the big screen. As I've posted before, robots are one of the top ten themes creative people love.

So when I moved into my new studio a few years back I found a unique shelve design to display all of my robot collectibles.

I've been wanting to use them for a creative project in some way, but never could figure out an appropriate use. That is until I worked on a recent identity project for New Modern Science.


Raw Photograph of Robot.

As I worked on the identity for New Modern Science I realized the robot would make a perfect company mascot. A secondary branding element in essence.

I'm not a professional photographer, but I know enough about photography to get what I need in this case. I set up a nice forced perspective shot against a white background.


Final Photograph of Robot Mascot.

I took my raw image into Photoshop and cleaned up some details, added depth of field fx, and crossed processed the colors so it worked well with the look and feel of the logo mark.


Brand integration.

The robot fits the context of new brand identity well. I even used it on the back of the business card design I created. You can view the whole project on my primary design site here.

Hoodlum Teaser

Cropped "Hoodlum" Editorial Illustration.

I love clients that give me complete creative freedom. The opportunity to explore and create in a direction that is fresh and new even though it wasn't what they had originally requested. Such is the case with this editorial illustration.

To read more about this project and view the un-cropped version of the above illustration visit my primary site.

Illustrative Stunt Double

Striking a pose.

When ever I need reference material for a creative project involving a male figure I call up my friend John Nissen. He was my best man and we've known each other since attending art school. He also has a good stereotypical body type which makes him my go to male model. ;-P

An agency hired me to create some linear illustrations for a campaign pitch. The topic was medical and they requested a few samples to use in their presentation.


Doctor with stethoscope linear illustration.

John is an Art Director at a local firm here in town where I live and does both design and illustration himself so he knows how to strike that perfect pose. In this case a doctor getting ready to listen to your heart via a stethoscope.

These were going to be animated just like the bank spots I've done in the past.


Acting for the sake of art.

Here John is posing as a sick guy looking for a cure online. Does he have H1N1 or is he just a Hypochondriac?


Googling for Rx linear illustration.

Like so much agency work this project died before it ever had a chance to be animated. Easy come, easy go.

Brewing Design

I just posted a new project at my primary design site regarding a coffee label design I did for Rahzo.com. I had shown this label to twitter users a while back after I got shipped some printed samples and was asked if I'd deconstruct how I went about creating it.

Well that is what this blog post is all about. So grab a cup of coffee and enjoy the post.


Source Photo: Paris, France.

1. Source Photo
Because I named the roast "Noir French Blend" it goes without saying it needs to have a French flair to the approach. I sourced out this picture which has the Eiffel Tower in the background.

I also picked this image because the contrast was perfect for how I planned on using it too.


Compositing images via Photoshop.

2. Distorting Reality
I wanted the the Eiffel Tower to be a focal point in my composition so if reality doesn't work you do what every fashion magazine does and manipulate reality so it looks better than real.


Converting photo to a halftone.

3. Halftone FX
I converted the photo to a halftone. In a nutshell: Convert color photo to greyscale, convert to halftone by going to the menu image/mode/bitmap. From there you'll have to experiment in order to determine what size of halftone works best for you, it isn't a one size fits all process. Once you have the size nailed down you have to convert back from bitmap to greyscale then copy/paste it back into your PSD file.

If you're still scratching your head after reading the above try this link it might help you? Or my big dot tutorial might also explain this process better?


Halftoned photo integrated into layout.

4. Halftone Integrated
I nest the halftoned photo into my over all layout. Mind you this is screen res so it doesn't do the halftone justice. Make sure to view the larger image at the end of this post to see how the halftones enhance the look and feel of the design.


European Beauty.

5. Romance
I wanted drama in my design. It's Paris so it needed some beautiful romance so I sourced out this photo. Her eyes were captivating and that was what I was after.


Romantic dot gain.

6. Larger Halftone FX
Once again I used the same halftone effect, just a larger size and composited the romantic gaze into my design.

A lot of what I do when I use Photoshop is experimentation. Playing with transparency, blend modes and arrangement of content and via layers to achieve the look and feel I'm after.


Laying a graphic foundation.

7. Graphic Foundation
This historical ornament and banner dangler will serve as the foundation for critical content like type and iconography as you'll see in the following images.


...Like a big pizza pie that's moire.

8. Creating a Moire Effect
The design over all felt too stark to me. I wanted to blend it all together more. So I just opened another color stock photo (Any will work) gaussian blurred it, went to filter/Pixelate/Color Halftone, converted it to greyscale, copy/pasted it back into my PSD file, messed with transparency and blend modes and there you have it.


...You're in love.

9. Moire Effect Applied
Compare this image to step 7.


Adding more character.

10. Texurizing
To add more depth and interest I used a variety of surface textures from my "Crumble.Crackle.Burn" book.


Interesting diagram art.

11. Diagram Illustration
I wanted culture appropriate imagery to collage my design with so I did some research and found this great retro diagram illustration of a Vespa scooter.


The Vespa has been parked.

12. Diagram Illustration Integrated
I'm building my design layer by layer taking the various graphic elements and collaging them together. After all that is essentially what graphic design means.


Information added to the layout.

13. Typography & Iconography
It goes without saying that the type you choose need to work for the specific genre you are designing for. This design uses just two typefaces and I've added an iconic graphic of a coffee plant to lock up the design motif.

I also left room so we could work in Rahzo's logo stamp as well.


The label diecut.

14. Diecut
On this project we had the luxury of doing a custom diecut so I created this unique shape to frame my design. Of course I knew I was doing this from the beginning so I kept that in mind as I collaged my graphic content too so as not to loose anything when it was trimmed.


Piping hot design ready to pour.

15. Final Product
The final labels came out great and the product is now available.

Click here to view a larger image of the final label design.

If you'd like to deconstruct this project further just download the "Brewing Design Pack" below which contains a print resolution (150 dpi) layered PSD file. (CS4 file but will open in CS3 or CS2) You'll be able to click through the layers and see exactly how everything was set up.

- Download "Brewing Design Pack" (5 MB)

Color Palette Refinement

My creative process is both analog and digital. I love the tactile approach drawing provides and the precision ease of use digital offers in regard to creating artwork and design.

I've had my battles with Illustrator over the years. And it more than anything else in my life is truly a love hate relationship.

Thankfully most of these frustrations and short comings have either been resolved now by Adobe or bypassed via helpful third party plugins that work better than the native tools.

That said, there is still room for improvement and that is what this post is about. I'm specifically talking about the the "Color Palette" in Adobe Illustrator.


Adobe Illustrator 8 Color Palette.

It's been eons since Adobe seriously updated the Color Palette. The above image shows what it looked like back in Illustrator 8 running on system 9 prior to the advent of OSX.


Current interface appearance of Color Palette in CS4.

Not much has changed with the Color Palette since Illustrator 8. Being a former FreeHand user the GUI on this specific palette has always annoyed me.

Why did Adobe ever overlap the fill and stroke controls? OK, so that was a rhetorical question. It denotes which control you have in focus either fill or stroke. Having the overlap as it is now just makes selecting them more of a pain and slows down the build process IMO.


Overlap + Dark Colors = Problem.

The current overlap causes another problem, if you have darker colors it's hard to tell which one is selected, (See above image) so it isn't fool proof from that stand point making it slow you down again. I think my solution below is better. The overlap also gives the illusion of representing a hierarchy, which it doesn't in the actual object itself, that's what the Appearance Palette is for.

But the biggest issue for me in regards to the Color Palette is the fact there is no way to quickly color both the fill and stroke at the same time. (I miss that feature from FreeHand)


My suggested GUI and functional update to the Color Palette.

I think Adobe should re-design the Color Palette. I'm not talking about making the process fundamentally different, I just want to see what is already there improved upon. They should also add in the ability to color both the fill and stroke at the same time. Everything else would work the same as it always has.


Easier to select fill and stroke controls.

Want to color your fill and stroke yellow? Just click the multi-color control shown to the right of the fill and stroke control and then create your color and your done. (You can also drag a color to the multi-color control too) This would seem to be a pretty easy refinement the Adobe engineers could make?


Arrowhead to Identify which control you have selected.

Someone in the comments below pointed out the overlapping fill and stroke denote which one is selected. I realize that but it's still not needed. I could see why they might have done that before OSX and more robust application versions but it's simply not needed.

I propose that an active arrow appears along side which ever control is currently in focus be it the fill, stroke, or multi-color.

I know everyone has different ways of working but I'd use this simple function all the time if it were part of the app. FreeHand had it, Adobe owns FreeHand now so why not implement it? They've already done so with multiple art boards, new masking etc.

Creative Edge

Dreyer's Fruit Bars.

One of my favorite snacks is Dreyer's Fruit Bars. I scarfed my first one back in 1997 and have kept them stocked in my fridge ever since.

Before I go any further I should say that this post is all about creative curiosity. Recognizing seemingly mundane moments in your life, and taking the time to view them from a different perspective and by doing so discovering something creatively new.


Popsicle sticks.

Every time I would have a fruit bar I'd be left with a popsicle stick. At least that is what people refer to them as. I never actually eat popsicles.


Broken popsicle sticks.

Usually I'm watching TV when I'm having one and I started breaking them into several pieces. After doing so I'd just toss them into the garbage and out of sight out of mind.

After breaking up hundreds of these popsicle sticks I began to notice the interesting edge they created when broken. But that is about as far as I took it.


Aligning broken pieces.

A few weeks ago however I was looking at a few more broken pieces and thought to myself

"This would make a really cool edge texture if you lined them all up."

Creative Edge.

So instead of tossing them into the garbage I started saving the best broken pieces. Once I had enough I drew a line on a piece of paper and started lining them up.


Building edge texture with pieces.

To hold them together I used painters tape. It has enough adhesion to keep the pieces in place but also easy enough to adjust them if needed.


Completed edge of broken popsicle pieces.

As I composited the popsicle pieces to form the edge I tried to vary the various broken ends so it would form a unique contour both positively and negatively.


Scan of pieces and detail of final edge texture.

I scanned the taped popsicle pieces in at high resolution greyscale image and then used Photoshop to adjust levels and created the final texture shown above.

It's been almost four years since my texture book came out but I continue to be fascinated with texture. Styles come and go but texture will forever be timeless and useful within design and Photoshop makes using them so easy.

Speaking of Photoshop, it's probably my favorite application to use.

That may surprise some people reading this blog, but I like it just because it allows the user to work the way they prefer, it's very flexible in terms of the app adapting to your own methodology and preferences in regards to a creative process. Ten people can do the same thing ten different ways and that IMO is an example of intuitive software.

I wish Illustrator was half as easy to use and adapt into ones creative process, but I digress.

I took a lot of time adjusting and refining the details in this edge texture so as not to blow out the image and lose the nice fine details of the splintered wood and the various artifacts it created when I scanned them in.





Example use of "Creative Edge" texture.

My penchant for frozen fruit on a stick peaked my creative curiosity and you the faithful reader benefit from this artistic experiment.

Download "Creative Edge" Texture.
The "Creative Edge" Texture download includes the following content you can use in your own creative pursuits be it personal or professional as these textures are what I like to call open source creativity. Go forth and create!

- Layered Grayscale PSD File (Hi-Res, 8.5x11 inches @ 610 ppi)
- Left-Side Bitmap Tiff (Hi-Res, 1.5x11 inches @ 610 ppi)
- Right-Side Bitmap Tiff (Hi-Res, 1.5x11 inches @ 610 ppi)

The layered PSD file has multiple options so you'll have to turn on/off the layers to view all of them, such as pre-built masked layers to make usage easier. The PSD File is CS4 but will still open in CS3 or CS2 without any problems.

- Download "Creative Edge Texture" (67 MB)

Creative Faceoff

NHL Hockey Patch Micro-Tut


Source Photo: NHL Legend Gordie Howe.

1. Source Photo
With this style my client provides the archive photo that their team has selected for me to draw from. For these types of portrait patches it helps to have a dramatically lit picture but sometimes that proves to be somewhat difficult since many players have long since been retired and the variety of source photos is very limited.

Thankfully this one was well suited for this style which has to be pulled off in three spot colors due to budget and reproduction methods overseas. So it's all about simplifying detail and baking down an image to not only work small but retain clarity and of course look like the person your illustrating of course.

I grew up in the Pacific Northwest. Hockey was never a big thing in our parts. Sure we had professional teams but they were an hour north in Seattle.

There was one neighborhood kid who liked hockey, but we didn't have any ice rink locally. Every so often he'd pull out some goals he had built, gather a group of kids, and we'd have a game in his drive way using a tennis ball as the puck.

I had about as much success handling my hockey stick as I do chop sticks. It was fun because it was different but I felt something was being lost in our translation of the game.


Refined Pencil Sketch.

2. Refined Sketch
Since this style lacks any use of gradients I draw out my artwork with shapes in mind. If you scrutinize the photo enough you'll see that his eyebrows aren't exactly shaped like that, or his inner ear really doesn't contain those forms. But that is OK, It's not about photo realism it's about iconifying his visual persona.

I look at a photo and the first thing I do is purposely blur my eyes and study it, this helps me see the facial features as contour shapes and this guides my drawing.

I do this not only because of the limited production specs but also because of my own budget constraints. I can't afford to spend 8 hours on a specific patch design when my budget allows me at the most two hours.

This process is expedient but still allows me to retain the level of quality I expect from myself. And thus is the difference between fine art and commercial art.

I still don't have a clue when it comes to hockey rules, or current players or teams. Every now and then I come across a game and I watch it, but I miss the laser puck days when it was on Fox Sports.

I do recognize the hall of famer players from hockey past like Wayne Gretzky, Bobby Orr, Gordie Howe etc. but even in this blog post I'm only familiar with 4 of the 8 players shown, but thankfully I don't need to be in order to draw them. ;-P


Building Vector Artwork.

3. Building Vectors
Because I spend the board time drawing my refined sketch I know exactly what I have to build when go from analog to digital. There is no guess work it's just a matter of creating what I've already determined I need.

Working like this also speeds up the production process because I'm not slowing down trying to figure out how something should look and noodling around trying to figure it out on the fly.

I still have never actually seen a hockey game in person. And I may never will? And unlike my childhood I don't know anyone now locally who is a hockey fan?


Base Artwork.

4. Base Artwork
Once I have all my core base vector shapes built I flow in the basic colors and set up the outer stroke thickness. At this point I'm about 3/4 of the way done.

In the last three years I've done about 300 of these type of portraits. I've done so many that I've caught myself looking at peoples faces in public and in my mind I begin to simplify their features and think about how I could build the vector shapes. So I guess you could say I have an acute case of Vectoritis.


Drawing Shading.

5. Drawing Shading
At this point in my creative process I print out my base artwork and referencing the photo I draw out the shading using the same modus operandi as I did with the rest of the portrait illustration.

My process is a mix of digital and analog going back and forth until I complete the project and unless clones become part of our everyday lives I don't see this methodology changing anytime soon.

Here is some hockey patches I created a couple years ago.


Vector Detailing.

6. Vector Detailing
I scan in my shading drawing and build out the detail in vector form. Now the art is ready to integrate into the over all patch motif and the iconification of a hockey icon is now complete.

I usually do all of my portraits at the same time progressing from one stage to the next until I have all of them done. It just goes faster that way rather then doing one at a time from beginning to end.

This post is what I call a micro-tut, if you'd like to see a full on tutorial covering this same style in more depth just visit my tutorial site at IllustrationClass.com.


Final Gordie Howe Patch Design.

7. Final Patch
Here is the portrait art nested in context of the final patch design. Along with each patch I have to use the specific team colors as well.

On very rare occasions I've managed to pull this same style off without drawing out my art first. OK, I've only done that once and it was for a very tight deadline and the photography was custom shot by my client. You can view that project here.

2008-2009 NHL Hockey Patches

This Guy Lafleur patch is in reference to his hockey achievements.


NHL hall of famer Ray Bourque.


Legendary iceman Bobby Hull.


The dramatic goalie Robert Luongo.


Tony Esposito and the big hair days of hockey.


Player and now coach Patrick Roy.


The great Mario Lemieux.

Hockey may never hold a lot of interest for me personally but I have learned a lot about it through my various design projects and no matter what the sport it's always fun to illustrate in this fashion.