Saturday, November 12, 2011

The importance of having artistic community.

It is awesome to be part of such the thriving DIY artistic community on . There are many a websites that showcases the portfolios of artists but only a few that really foster an arena for prolific dialog about the arts. The community is vast in levels of talent and amazingly rich with support and critique. Rather that just showcasing the best of the best, it is truly a venue or artist who show up with the best of PRACTICE.  Over 18million users globally use the site in every medium and theme I can think of.  I have seen the world through a lot of lenses, most of with are jaded by intentions that are non-artistic and super insular.  It is refreshing for me to see super talented famous artists and really stoked junior high artists chatting in the same forum groups,  helping each other in critique. I am very inspired to be a part of it.

Today one of my piece was chosen to be a 'Daily Deviation,' and in the 12 hours that it has been on the list thousands of members of the community have viewed the piece and hundreds of artists have given me feedback. I do not know any of these people, but I can now have an artistic dialog with them. Pretty amazing to have that much buzz, and exciting to know the arts are viral. Maybe the economy is tanking, but the creative spark is alive and well.

The piece that was chosen is called ' Get Some Air.' A fun digital painting of a chillin goldfish. (are they goldfish if they are not gold?)
'Get Some Air',
Painted in Forest Stearns 2011
Thanks C. Amat for the inspiration

As a successful artist you have to be resilient and be able to adapt to new media.   dA muro is a great archway between traditional mark-making and digital responsiveness.  You pick up a new medium, it takes a bit to be able to speak your own style through the new marks. Not unlike a watercolor paintbrush or a chalk pastel for the first time, it takes some getting used to for sure. It is pretty straight forward and with practice it is as awesome as any other medium you are stoked on.

Here are some other pieces I have made with dA muro.

Animal Style,  Painted in
 ©Forest Stearns 2011

'Cover Your Eyes',
Painted in ©Forest Stearns 2011 
'Modal Monters'
Painted in ©Forest Stearns 2011 
So much respect to the team at dA who are putting digital art tool in the hands of the artistic population in the digital age. These developers are putting in work to create an accessible experience to any artist.  I am honored to be part of the movement to legitimize digital art and validate it in the 'real art' camp.

Go Practice!

Thursday, September 29, 2011

Sharpie Blaster Clothing Bombs!

 Sharpie Killers ©Forest Stearns 2011
 Making dress shirts into super cool dress shirts with my friend Adrian Ward.
Sharpie Killers ©Forest Stearns 2011
  I am always stoked to hang out with this guy, he is mega inspiring. We always get into rad conversations over sketchbooks that last for pages on the regular, this time instead of drawing on paper he handed me his button down shirt and I rocked a full panel piece on the spot.
Sharpie Killers ©Forest Stearns 2011
Sharpie Killers ©Forest Stearns 2011

He was stoked and I am hoping to do more of these pieces for Fatbol.Practice comes in many forms.

Tuesday, September 27, 2011

Calligraphic Cintiq Practice

I am working on a sign for a company called Artofactory. Here are some samples of ways that the lettering could go. It has to ride the line between legible and beautiful. I love making up mutant scripts, with the Cintiq I get a clean line with plenty of variation. A good tool to use before breaking out the canvas and paint. Enjoy!
Artofactory letters ©Forest Stearns 2011

Sunday, August 14, 2011

Bringing the art to the noise! Bangin collaboration with and Pacific Festival!

Pacific Festival, meets Meets Draweverywhere! Photo by Valentino Vicent, Thanks!

I just landed back on Oakland from an art intensive collaboration with DeviantArt down in SOCAL. This is just a teaser of what will be a whole story, pictures are just hitting the interweb and I am going to take a nap. 

But I am giddy like a school girl and want to share a taste of appreciation I have for my new team of friends. The party was perfect, thousands of smiling faces sharing great music and amazing weather.

Pacific Festival, meets Meets Draweverywhere!  
Photo by Stacy Wheeler, Thanks!!!
Respect and trust is what I am talking about! Huge Respect to Aunny, Shyree, Angelo, Mike D, Ando, Kelson, and the rest of Team Awesome DA and PF!

Doing this piece and the conversations surrounding it again reinforced the value of my team! BIG UPS to EMPIRE SQUARED and ALWAYS ON TOUR for LIFE! Giving me the building blocks of practice to get up and rock no question!!!! I love, and miss you guys!

Wednesday, August 3, 2011

Mask study drawings

This week I took a day off of the digital work and went into nature to draw. Of course I had to scan and tweak a bit. Here is a set of masks inspired by Bali artisans mixed with animals. It is really pleasing to visually mix multiple things into a new form. It is also fun to work with symmetry. Enjoy
Mask studies by Forest Stearns

Sunday, July 31, 2011

Creating a family of logos for Fire Festivals.

It is festival season and I have been hard at work developing a family of logos just for this time of year. Axis Mundi has been hard at work this year creating world class fire festivals.

It is really fun to have created a series of illustrated logos that go together in such a cool totem fashion.

Flame Festival,  Pacific Fire, Fire drums,Kinetic Fire, ©Forest Stearns
FireDrums Logo, ©Forest Stearns
Flame Festival ©Forest Stearns
Kinetic Fire, ©Forest Stearns
Pacific Fire ©Forest Stearns

Each piece has the corresponding name of the festival written in my own handwriting.
They are all unique yet similar in the series.

I often see the logos on garments in fire spinning videos and around town. It is fun to catch a glimpse of my work randomly in my travels. Enjoy!

Tuesday, June 21, 2011

'Practice Gratitude' in art, education and life. PART ONE The Intention.

“Practice Gratitude”
30“ x 45” Serigraph Edition on Thai Kozo  2010 ©Forest Stearns

Education is an honor to exercise, and this year I have achieved a huge personal goal of attaining my Masters of Fine Art in Illustration. The experience of these teachings was life changing and the outcome has been unfolding as a bouquet of enriching self lessons, both academic and empirical.

Some of my teachers have been amazing professors,  James Moore, Eugenia Mitsanas, Steven Kloepher, Kazu Sano, Carrie Anne Plank, Stephen Player, Mark Tennant, and William Maughan to mention a few in my academic tract.  Beyond the knowledge garnered by these teachers I have been greatly inspired in technique by my peer group of artists, fellow students, and friends.

Beyond the purely technical aspect these years, there have been teachers during this time that have shown me love directly or through lessons outside of the classroom. My amazing parents, and family have been crucial lights in these dedicated times. My partner has been my glue of sanity in both diplomatic and heartfelt agendas.  She has taught me the lessons of resilient mindset.

Finally, there are people in my life that I have looked to for inspiration and situational guidance. Great artists, thinkers and doers of the past and present.  His Holiness the Dalai Lama is one of these amazingly influential teachers. This man holds a place in this world so warm and inspirational. For him and all of my others teachers I am eternally grateful and I will honor them by practicing with my full attention everyday.

The original painting (R)  with the serigraph print (L). ©Forest Stearns

As a personal celebration of reaching this goal and giving appreciation to my teachers, I have executed a very special edition of art.  The original concept for this piece was drawn up and painted in a class I had with Kazu Sano, an amazing narrative illustration teacher. My goal was to illustrate a personal hero and bring out the emotions they evoke in me to a visual language that the viewer can interpret.  It is the only piece I did during my graduate school experience that I will always keep on display in my home as a reminder of the lessons I learned in those years.  Many viewers have inquired into the fate of this painting, so as a culmination of my study, I decided to translate my painted version into a serigraph limited edition.  I choice to reproduce this piece on wonderful Thai Kozo paper with a very intricate printing process to not only challenge my honed skills, but to also share this experience and connect with a larger audience.  It was a wonderful and provoking process to do an edition of this physical size on such elegant paper. I loved it!

One of the biggest lessons I gained from this 3 year intensive masters program was the crucial life importance of having a daily PRACTICE. On a daily basis I set aside a unique time for myself to explore my creative concepts and techniques without worry of failure or perfection. This exploration usually happens in my sketchbook, which is always close at hand to write down any idea that comes to my mind that is creatively influential. Practice to me is dialing-in the artistic experience so my mind owns it like a fluent language. The word itself became a mantra to me,  I would write it down daily in my sketchbook to remember the practice of practice.  I am greatly thankful for this daily exercise that my teachers have bestowed upon me.

The intention of this piece is to celebrate and share the warmth of my teachers and yours. His Holiness the Dalai Lama is a living personification of the practice of gratitude. It is my hope that you see this concept illuminated in the warmth and gesture of the piece. I invite you to enjoy the experience of 'Practice Gratitude.'

 'PRACTICE GRATITUDE' title close up. ©Forest Stearns
Each piece hand embellished, signed and numbered by artist. Due to the nature of the silkscreen, each print is a unique piece of art in series according to the edition.

This limited edition serigraph print is $268.00 USD. +tx & s/h

In 'Part two' of this post I will explain the process of creating this piece.

Saturday, June 18, 2011

Trapping an image for Silkscreen printing

This month I have been working with a team of artist to produce a line of graphic illustrations. This collection will be an upcoming line of clothing printed for Fatbol Clothing. 

 The End of an Era, color concept©Forest Stearns

It is an honor to work with a great group of talented artists and as the art director of this project it is my job to make sure the art gets from their canvas' to the garment with out any hangups. of course there is many variables in the printing process from conscious sourcing, color schemes, delivery, release dates, company politics, marketing, quality....Etc. I will have to deal with all of these things but my main quest is to get good art from good artists onto good clothing for a market that wants to wear quality pieces of art.

My main goal in this is to share the simple operating  procedure so all artists looking to do commercial reproductions of their graphic works can step up and make their art print ready. If you do not do it, then someone else will and that means that the quality of your work will likely be mangled and the output will not match the original quality of the piece. Unfortunately this has happened to me on many occasions, not fun. I hope to pass on the knowledge and you don't have to be bummed when you get back your print and the intention that you put into your piece of work is not reproduced correctly. Plus it makes my life a lot easier as the art director when my team of artists has control of their work environment as much as possible. Lets all do good commercial art and sell it to the folks who appreciate it greatly and can print it with the least amount of negative translation.

Here we go!!!!! (I am listening to White Zombie, and I am on a roll!!!!)

There is many steps in the journey of the art that you are wearing on your clothing.

.Doing the quality art, traditional or digital.
.Making it digital by scanning or photographing high resolution.
.Separating the colors to be printed cleanly.
.Trapping the layers to greatly reduce visual chatter if misprinted. 
.Presenting the file in layers with clean registration marks on each layer.
.Making the image the correct size to print.
.Choosing and labeling the color way of the inks and garment color.
.Double checking the printers file parameters, and sending it.

If all these things, and maybe a few more, are done, then you will get a good piece back, and if you don't, you can take it up with the printer. 

 I am not going to go through the whole story. My point with this is to show artist how to make their pieces print ready so there is no question that the printer SHOULD do an impeccable job printing.

In this tutorial I am going to go over the printing process of multiple layers, successful trapping, and use of registration marks.


You have done a great drawing, rad, NOW WHAT?

In a previous post I talked about the drawing process of this piece so I will not get back into those details, here is the post if you want to do your homework:

You can't just hand it off to someone and hope it gets printed correctly. It is not that easy, unless your process is fully sponsored and there are print monkeys at the ready.

This is the second silkscreen I ever did, and it is a great example of all the ways I failed in printing but learned SO MANY lessons. 

Original pencil drawing, cleaned digitally, ready for print. ©Forest Stearns
 Your drawing is quality, you stand behind the concept and the technique. The above is a drawing I did in pencil on 18x24 in bond paper. I scanned it and had to do quite a bit of cleaning in photoshop to get it to a level of line quality that will print beautifully.

It could be finished at this level of drawing, or painted in a different medium to a rendered or graphic finish. My goal is to make this line drawing into a full color silk screened print. Basically that means this image will be printed on top of many other printed layers so it ends up with a range of colors and textures like a painting.

Each layer needs to be created from this drawing. I will speak for my own style which is pretty tight and inside the lines. Each layer will have to be lined up on the finished print of it will look wonky in the end and you will look like a rookie. If you have off registration printing, like Morning Breath's work, you have to design for it. All your elements have to be tight in order to break the rules. Silk screen has many variables of certain failure, like so many things in life you have to master them to be able to bend them.

From the drawing I decide on a the amount of layers of color that will visually tell my story. Silk screen is by nature  a visually flat medium, there is not an color blending happening in the basic process so have a plan.

My decided color scheme, developed in photoshop from original drawing ©Forest Stearns

 Notice the registration marks, they are in every layer with will be made into individual separations and printed on top of each other in sequence to the top. If any of the layers gets messed up in the process, then you either have to be really clever in fixing the print or you have lost a piece of art. When your printing shirts or posters and you screw on up it is a bummer. One less piece you can sell to your collectors.

Layers of printing to get to the final intended design. ©Forest Stearns
A quality print has all of it's layers lined up perfectly ©Forest Stearns
 Each color is stacked on the previous and the last line work gets all the credit for making your piece look tight and finished. If you are off on any one, or even many of the passes of color the piece will look like a rookie in a classroom did it. ( That was me on this piece!)

A quality print has all of it's layers off reg and you can easily see it. ©Forest Stearns

 This is what a poorly registered piece will print like. Even a fraction of an inch will be noticed. Sometimes that visual chatter adds character to the print, if you do it right, or your lucky.

Trapping the layers means covering the gaps of the previous layer with the with of the layer above it. If you cut a square out of a piece of paper and then try to fit it back in the same spot you cut it from you will see slight holes to the surface below on the edge of the square. if you move the cut piece slightly in the hole you made the gaps between the edges grow exponentially.  Lining it up right is the registration.

Next, cut a square that is slightly bigger that the hole you previously cut. Now lay it over the whole.  Now all of the small space of the surface below can be covered. This is the physics of Trapping.

Now shift the larger piece slightly, notice it covers the hole even if there is a variance in placement. This is the physics of Registration.

When each of the layers has target Registration marks, then on the first pass the printer can line up the new marks to the previous marks and the layers will line up perfectly. If the layer takes into account for trapping, then the layers can have slight variance and the final print will still look acceptable to a point. The holes that you see in the image above will be covered, you would not be able to see down to the orange under color if I had trapped the image correctly.

A quality print has all of it's layers lined up perfectly ©Forest Stearns

 Below is my finished print "The End of an Era" 18x24 printed on tan paper. I was just starting out in my graduate career in printing class and had a lot to learn. The series started out with 60 in the edition but I wrecked a good 20 in the process. Some turned out great and others got burned, buffed, or used as wrapping paper. It could have easily been printed on t shirts or any other media.  The cool thing about printing is that even if you wreck a bunch there is still a whole covey of success. They can all be sold to different collectors to enjoy the same image and you can keep one! Awesome, I still have some for sale if you want a piece of this history.

 Finished signed piece ©Forest Stearns

Close up of print to show layers A©Forest Stearns

Close up of print to show layers B©Forest Stearns

Close up of print to show layers C©Forest Stearns

 Notice in closing, that there is some registration and trapping mistakes on this piece, but it turned out pretty nice. I have sold many of the edition and I was educated greatly in the process.

Hopefully this was a fun and educational read. Now go and practice!


Sunday, April 17, 2011

Unicorn Collaboration with Wood Sculpture Ben Lewry

This week I got to do the impossible.

Finished Unicorn Hula-hoop Holder. 
 The impossible is hiring a unicorn trainer to bring his prized white stallion unicorn to my warehouse to be the subject matter for this commission.  I have grown up with horses but being around one that has a sword coming from its forehead is amazing.

Anyways, this piece is a collaboration with Ben. His concept, my illustrious style. Unicorns have never been my favorite subject matter but I will always rise to a challenge of drawing something new, with unique quality and style.

Unicorn on the drawing board. 
It started in the sketchbook and went straight to the primed surface. The primary drawings were much more animated but having the beast in the dog park posing, changed my mind on the style. I decided to make it more realistic and regal, true to form.

The neighborhood clowns helped me with this photo. 

Monday, April 11, 2011

Creating silkscreened limited edition prints from a detailed drawing.

I love to make artwork to share with multiple friends and collectors. Silkscreening limited edition runs make it feasible to do so. It allows me to make many pieces that are almost duplicates but at the same time there are small nuance differences that makes them each a fine art piece.  This piece is a limited edition run of 39 called "The End of an Era." It is 18x24 printed on brown paper.
"The End of an Era."-print-final print ©Forest Stearns
The process starts with a detailed drawing. I spend a lot of time developing interesting subject matter that will add to the narrative of the illustration. Using pencil, I can erase and redraw the lines so that quality is tight and can be used as final line work when I deveop the screens to print.
"The End of an Era." drawing detail1 ©Forest Stearns

"The End of an Era." drawing detail2 ©Forest Stearns

"The End of an Era." drawing detail3 ©Forest Stearns

"The End of an Era." drawing detail4 ©Forest Stearns

"The End of an Era." drawing detail5 ©Forest Stearns

"The End of an Era." drawing detail6 ©Forest Stearns

"The End of an Era." drawing detail7 ©Forest Stearns

"The End of an Era." drawing detail8 ©Forest Stearns
 After spending the right amount of time with my nose to the paper, I get to develop the layers.
"The End of an Era." just color pre-line work.  ©Forest Stearns
 The piece goes to print and multiple layers are screened onto the surface to build up the colors in kind a reverse order. The final line work with I had previously drawn gets printed on last and it all comes together! Another great thing about doing editions is that the ones that get messed up become pieces that I can paint on and experiment with.
"The End of an Era." painted experiment on print  ©Forest Stearns
This piece I painted over the screened colors with acrylic and colored pencil to make the inherently flat screened surface  much more rendered and modeled.

I will put these prints available for sale in the blog store soon. Enjoy!

Sunday, April 10, 2011

I drew some clouds, maybe I will paint them.

Thinking of clouds 1© Forest Stearns

Thinking of clouds 2© Forest Stearns

Thinking of clouds 3© Forest Stearns
The other day I had a sketchbook adventures while at the Association for Experiential Education winter summit. I was pushing my mind to conceive of a deep environmental space inside the drawn box. Creating atmospheric perspective is hard with ball point.  Makes me want to travel where the clouds are huge! Soon, talk of Santa Fe was on the wind today.