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<\/div>\nI’ve spent at least the last year and a half (actually, more like seven years, since my undergrad Drawing I class) being obsessed with this limited-tone<\/a> art style<\/a>. I called it “rotoscoping” once, and Lisa and Will jumped on me because there’s no animation involved, so I have to admit that it’s actually what people call “tracing.” But selective<\/i> tracing.<\/p>\n As was likely very obvious to anyone in my family, and as I only realized yesterday, my playing around with tone is blatantly derived from my uncle John’s painting<\/a> and wood engraving<\/a> work, especially his portraits of my grandfather (which he often combines with layered collage). Mr. Olmos there has some features similar to his, like the disappearing eyes which Ian and I inherited. I hope I get to look that craggy eventually. Right now people are still asking me what my major is, despite the obvious gray in my hair.<\/p>\n I almost forgot to mention that this is the first thing I’ve ever inked with the brushes I bought in 2003, and although it was a lot slower than my usual pens, I completely get why cartoonists get so excited about it now. There’s a feeling of dynamic control over the line weight that you just can’t get with pens, even the brush pen with which I inked a lot of later Xorph strips. (Not that there are actually any distinct lines in the finished images below. Good.)<\/p>\n So I made a picture and it’s a wallpaper if you want it: the images below link to 1600×1200 and 1600×1000 (widescreen) jpegs. There’s also a browser-sized version<\/a> if you just want to zoom in a bit.<\/p>\n
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