A little something I put together in the spare bits. I need more technology in my portfolio, I'm perfectly comfortable with cars and guns and such but I really don't do enough of it to show that. You should maybe Download to see this in full-res, there's a lot of fiddly detail.
The composition of this piece got very messy at some point, probably because I'm easily persuaded to put in "one more cool thing" at the expense of clarity. I like most of the bits I ended up with, but the fact that I didn't plan it all out in advance really shows in the uneven layout. Still, I like the general designs, and I had fun with stuff like the dichotomy of the dragons, or the mousiness of the civilian car.
7 logos to find, but one of them is quite badly done... let's say 6 logos and a bonus crap one for the truly dedicated.
Cintiq 21UX, Manga Studio EX v3, ask me any questions you like. No refs were used for anything but the Space Needle, the rest of it is 110% freehanded make-em-up. If something is mechanically questionable, I take the blame.
-EDIT-
Daily Dev, no kiddin'!? Thank you!
For all the color requests, check out the Download option and you'll see that it's now at 3600x2400. Have fun with it, let me know what you come up with!
-DOUBLE EDIT-
Hey look, now it's a print! That's new. I've never sold a print before, but I'm thinking why not already?
First thing's first, thank you for taking the time to respond in detail
That did help me make up my mind pretty quick . Btw, are you a freelance artist? Just wondering when you said "wrapped up a job with a significant bonus", also if you are, what's it like?
I've been an independent contractor for about 12 years now, I think? For most of that time I had a primary client that took up about 90% of my time with subcontract animation and commercial production work (Studio Fates, from 2000-2010). Over the past five years I've slowly diversified the client portfolio more, focusing on illustration in addition to pre-production work in TV and video games (mostly storyboarding). During 2011-2012 I was employed at THQ and scaled down the freelancing to a near-stop, but I powered it back up again in April of this year and haven't stopped since.
It's important to remember that you're not just an artist, you're a small-business owner. Most of what I do on the business end I've modeled after the construction contracting I grew up around, which suffices for most things though it's not a 1:1 analog. You've got to do a lot of negotiating and networking and accounting and amateur engineering and other stuff that's not drawing, which can be scary and frustrating (taxes... eurgh), and if you can't maintain a financial buffer it can be extremely stressful. And always, always, the competition. Especially these days, as more and more young artists learn the craft through powerful digital tools, and continue to raise the bar (and often lower rates) across the industry.
On the up side, you are the boss. You set your own hours, and you decide how to spend them. You can take off any time you like, do the job however you think best, and you are the final arbiter of quality. If you can do the job well and hook the right clients, you'll be encouraged to make creative decisions, which is ultimately rewarding when you see those decisions create a work that's well-received. Eventually you may reach a point where you never have to take a job that doesn't make you smile, and every day you can work on something exciting and fun, and create a personal legacy that lives long beyond your days.
Oh man, again THANK YOU for the detailed response. I greatly appreciate it
Yeah, I'd read about the joys and downsides of working for yourself. It DOES scare me a bit, I'm not gonna lie but nothing truly educates you like going out and doing it.
DAMN!! A lot of Sh!t is going down in this sketch. Try and keep it simple, there so much going on that I got a little dizzy scrolling down to see everything, I mean WHAT IS GOING ON!?
That did help me make up my mind pretty quick
Again, thank you
It's important to remember that you're not just an artist, you're a small-business owner. Most of what I do on the business end I've modeled after the construction contracting I grew up around, which suffices for most things though it's not a 1:1 analog. You've got to do a lot of negotiating and networking and accounting and amateur engineering and other stuff that's not drawing, which can be scary and frustrating (taxes... eurgh), and if you can't maintain a financial buffer it can be extremely stressful. And always, always, the competition. Especially these days, as more and more young artists learn the craft through powerful digital tools, and continue to raise the bar (and often lower rates) across the industry.
On the up side, you are the boss. You set your own hours, and you decide how to spend them. You can take off any time you like, do the job however you think best, and you are the final arbiter of quality. If you can do the job well and hook the right clients, you'll be encouraged to make creative decisions, which is ultimately rewarding when you see those decisions create a work that's well-received. Eventually you may reach a point where you never have to take a job that doesn't make you smile, and every day you can work on something exciting and fun, and create a personal legacy that lives long beyond your days.
If you're strong enough.
Yeah, I'd read about the joys and downsides of working for yourself. It DOES scare me a bit, I'm not gonna lie
A running battle of rides
I mean holy shit