kend0 club

work has been soooper busy the last few weeks, hence the lack of posts. some really cool stuff in the works that hopefully i'll be able to show one day. in the meantime, some blocked in stuff from the sketchbook.


shaolin hobo

morning warm-up sketch. if you watch The Voice, inspired by Nicholas David


misc stuff

some random stuff



sketch book paint up, forgot the trees


fun with Bob Ross

picked up the 'Joy of Painting' the other day at the library to inspire my morning warm-ups. here's a few so far. while I never thought Bob's sense of composition was the best, the man was a master of minimal description and codified speedpainting into pure science. try this in 30min! so far it's been great to refine my brushes and push a color sense that i'd probably never consider on my own. good time strokes and happy little trees.


lunch session

graphite and cat ears, for Halloween



a dude that evolved out of my warm-up sketches. thought i'd work on my line and graphic shapes.



some little bots from a TBA project i'm working on. supposed to be something very utilitarian municipal. like a cross between a spray-can and trash-bin.



going back and developing a fun concept piece from before: HERE



those frenchies 



morning warm-up. playing with color. turned into a waterfall.


dark rocks

more technique refinements, trying to keep it simple



sand sand everywhere and not a drop to...
playing with a tanker stranded in the desert. trying to refine my speedpaints down to stronger compositions.


2D Artist Magazine: Featured!

A little while back the dudes at 2D Artist Magazine approached me for a sketchbook feature: I said yes. Thanks guys!! It's an honor to be featured alongside these amazing artists and art heroes of mine. Hopefully I make them look better by contrast...

You can check out my feature HERE (it will take a minute to load)
and/or you can pick up a full copy for yourself HERE


paint by standing on the shoulders of

when I feel the need for some strict painting practice I've found that if I paint out a drawing done by somebody else I can completely concentrate on the painting part, instead of giving myself the freedom to redesign along the way, the way I would with an image of my own. it's a great challenge to try and deliver on the potential of a well rendered drawing; to realize what is indicated. 

I did this the other day on a drawing done by the uber-talented Mattias Adolfsson. if you aren't familiar with his work, check out his blog HERE. specifically you can see the drawing I used HERE. he is a very prolific guy with an amazing creative array of machines, characters, narratives, etc. super inspiring. and nice enough to let me share this homage. 


brick by brick

some texture studies of brick from the sketchbook



it's taken a week to decompress after the Massive Black Workshop in San Francisco last week. so much awesomeness in such little time. doing some experimenting over the last few days to try and re-calibrate/assimilate so many inspirations. ended up with this little doodah.

a big thanks to all the friends old and new for letting me pal around with you, and making it such an enjoyable time!


spaced out

busy prepping my portfolio for the Massive Black Workshop next week in San Francisco. digging around in my archives to see what i've got and came across this, some spacey scenes! did them for a company looking into doing an educational space race/exploration game. never happened. 

deep space, wormholes, hyper-drive!


dungeon process post-mortem

i've been getting a lot of questions about process lately, so i thought i'd throw this up to show the twists and turn i typically go through. 
this is pretty old, from a dungeon crawler challenge i did about 2 yrs ago! it's got a lot of problems with it narrative-wise and structure-wise, but they were obvious in hind sight so it was a huge learning experience.

the concept was this warrior lost in the depths of a cold, wet, claustrophobic dungeon. i wanted to stay fairly close to monochromatic to emphasis the singular light source.

1- i did a number of thumbnail compositions and this is the one i liked most
2- filled it with some basic values and color to see if it would work, thought it did...
3- drew out a detailed pass to give myself an idea of where this was going
4- referring to the values of step 2, tried to workout basic lighting and planar surfaces
5- getting into the detail rendering i realized my composition had a lot of abstracted graphic shapes that didn't describe the spatial relationships at all. so i redesigned the whole corridor thing into an corner archway 
6- balancing, trying to get a dynamic range of lights and darks, trying to put contrast in the right places


rooftop lunchtime


i've realized i need to focus on texture description with my mark making more.


more inks

this is just me being inspired by the likes of Jake Parker and Matt Barrett among others who have this amazing tech sketch style, where they doodle these iterative drawings of vehicles and architecture, and its sooo freakin' awesome, and i have no hope ever being able to come close...   sigh*



I got a lot of good feedback on my value mock-up, so I tried to stick with those strengths. 


real inks

experimenting with some ink brushes



a speedie with a new set of brushes



The underpainting of a piece I'm working on for a show with the theme of 'Saturday Morning Cartoons.'


hood ornament hero

digital sketchbook



Art-Student Woes

There is a great article over on theartorder.com about making the most of student work. A must read if you're still in school, or even looking for some sense of ownership working for 'the Man.'

I graduated in 2008 and was the typical naive student of the current education bubble. I optimistically hoped my university degree would magically grant me the skills to be competitive in my dream industry. While I maintain that non of my professors had the chops to exemplify what they were teaching, and am eagerly awaiting the inevitable crash and burn of the current impostor of art-education, I recognize that only much too late did I take ownership of my education to maximize what could have been had from it. It was about a year away from finishing my 8yr stint that I realized I was coming up short, way short.

A lot of students use their education to find out what they want to do, and do a lot of feeling around before coming to a focus on a particular path, usually after they've graduated and asked themselves 'Now what?'. That's fine, and that needs to happen organically. But that wasn't my case, I knew exactly what I wanted. However despite that advantage, I still relied on hoop-jumping to somehow get me there. I took my time and enjoyed myself, but eventually got to the point where I was really pessimistic and felt short-changed by 'the system,' as if it were someone else's fault that I wasn't getting what I wanted out of my education.

The program I was part of put high emphasis on style and expression without laying the groundwork of traditional representational skills. I honed my bullsh!t skills and got A's because that was what the professors wanted, rather than an image that stood by itself without the need of an 'artist statement.' I was disillusioned with the process and frustrated knowing that art-speak wouldn't get me what my portfolio couldn't.

One day I was pondering a quote from Bush II, among other -isms: "C's get degrees." I realized I wasn't running for President, and I would still get my 20K piece of paper even if I forced my own agenda onto the loose parameters of each assignment. I had to engage myself the way I knew I needed to be and force-fed myself industry level expectations far above those of my professors, at the sacrifice of a lousy "A." I didn't have any scholarships to worry about, and "Dean's List Achievement" still hasn't opened doors that my portfolio can't, so what did I have to loose?

Freed from the expectation to please my professors, and invested in the necessity to please myself. I poured into assignments, transforming them into something I enjoyed and was proud of. Not that I just did my own thing regardless of the assignment, I made sure to cover my bases and learned all that was being offered, before foraying deep into what-I-want-to-do-instead land. I abandoned the typical artist-statement of excuses based in medium, technique, style, or esoteric concept, and boiled it down to something like "I wanted to paint a Sasquatch punching a unicorn in the face. Would you believe that I painted this from life?"

To my surprise I didn't get C's. I got A's and a lot praise. And a lot of highly valuable criticism.

I think my professors appreciated the fresh infusion of ownership, I'm sure they get tired of teaching and seeing the same old thing over and over again. I'm not saying that I was good or stand-out, but I learned A LOT. Way more than I had in the previous 7 yrs of hoop-jumping. People started to nit-pick what was on the canvas as I tried to put my ideals there instead of into fluffy rhetoric. I began to learn what I wanted to learn by asking people nail me on what I sucked at. It became a rewarding trial by fire that cleared my head of the clouds put there too many artsy fart-club sessions.

In retrospect I may come across as the disgruntled art student and critical of the real world value of getting an academic education, which I am. But, I wouldn't change my experience. It took me years to come to the conclusions that I did, and while ownership was really the only skill I took away from my program, it was entirely worth it.


prefab wild

decided to paint over a sketch that i liked, something about the concept of the juxtaposition. that and another experiment towards using descriptive texture. 


false starts

mostly morning warm-ups, usually kit bashing shapes and photo ref to get my mind going for the day. i usually have some kind of idea in mind and then start trying to finesse a lot of happy accidents. what usually happens is a train wreck though.


bionic supersoaker

another experiment with spot blacks and white on toned paper


tall and wide

some more doodle from the sketchbook playing with some ideas, uh, during meetings...


armor study

been doing a lot more study than output the last few weeks. 
here are some line drawing armor studies. started out with a nude model and drew up each piece on top of the other, from underwear to outer plates, to understand how it's worn and assembled. was especially enlightening to understand shoulder and knee assembly instead of just drawing a bunch of crap to look neat. 



a sketch that turned into a bit of an extended morning warm-up. a character from the elite Bladeforce squad, perpetually stuck in the 90's and maxin'out to the eXtreme.



some more fantasy characters from the sketchbook



some more snaps from the sketchbook. 


RISK: Factions

Here are a bunch of AI Generals that we designed for the game, but were ultimately cut. (*If you want to see the ones that made it in, go play the game!) These were a blast to work on with the talented Ron Jensen
You typically only see each character in portrait view, so we wanted to do some kind of quirky reveal ala the Haunted Mansion when you can see them in full. 



a while back i did a bunch of castle silhouette designs. i liked this one and tried to make a little painting of it. great learning experience even if there is a lot about the image i don't like.