Jason Dwyer - Designer + Illustrator

  • Sometimes it's good to work in a method you normal wouldn't consider the best for the project at hand. Breaking free of your creative routine is an important tool, not only in refreshing your artwork, but also in making new discoveries. If you just stick with what you know, then you will grow extremely familiar with that, but never actually grow as a whole.

    Personally, I often find it difficult to disregard the "proper" methods of drawing and working, fused inside of me from schooling and experience. For example, no matter how much I try to draw like a child, it is never anything as unique, innocent and unrestrained as a real five year old would actually produce.
    To break free, I like to just grab a random medium, and start to create, without any burden or expectation of producing something great. Shown here is a recent sketchbook doodle looking out the studio window, done in large pink oil pastel. The pastel specifically forced me to ignore details and realism and just draw away. It's certainly no masterpiece, but rewarding all the same.
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    Having recently done another personal website redesign, I wanted to take a peak backwards to see how far the web has come. And really, what a difference over ten years makes! I think my first website was about circa 1999 or so, and from then, I've had four illustration site versions, and two design site versions, before integrating them this year. There is only one version I can't seem to find any files for. Obviously my own design and web work has improved over time, since, thankfully, I'm not in high school anymore. My visual interests as well, have morphed, shuffling among infographics, doodles and clean advertising looks.

    The most amazing thing though, is the speed at which web technology evolves. At first, there was nothing but plain html to set-up your website with. All tables and nothing but. Then along came Flash which was hailed as the heroic smasher of restrictive web chains. Then came all sorts of graphic heavy ways of slicing up Photoshop files to get something that actually looked cool. The real gamechanger of the past five years has been CSS. The ability to distinguish presentation from content, and lay an entire site out in a clean, unrestricted fashion and then make easy changes across the site is a remarkable development. Lately everyone has seemed to turn against Flash, but it's still going strong, along with countless other impressive technologies like Ajax, asp, Jquery, CMSs, blogging and social media. Throw the newcomer html5 into the mix and it's pretty much the wild wild web all over again.
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    One of the best parts about comics, graphic novels and line art in general, is the feeling of a nice crisp black line. Or even, the startling amount of variation that can be achieved from a simple mark on paper. The way a drawing is inked can have a serious impact on how the final artwork ends up...it turns out inkers aren't just tracers after all. Interesting though, is the fact that much of the inking  I appreciate most, happens to be done by the same person that did the pencil drawing.

    FRANK MILLER
    The master of film noir himself, Frank Miller, is a hugely influential inker with his Sin City series. Massive areas of solid black, and the ability to create a clear scene without any outline, show tremendous experience and talent. Before Frank Miller, I used to find it hard to focus on b/w artwork, but he lured me right in.

    CHARLES BURNS
    Such crisp and delicate, thick-to thin brushstrokes are a marvel of skill and patience. Light source plays a huge role in creating Burns' distinct brush style. Seriously, it must take him at least a day just to ink one page!

    CRUMB
    Noted for his somewhat old-fashioned scritch scratch cross-hatching style, Crumb's inkwork just seems to flow perfectly with his drawing style, and tales of his longing for the good ol days. It must be a slow process to build up his darks, but Crumb is  mean man with a Rapidograph.

    JAE LEE
    Lee opens up new possibilities when inking for colour work. Unusual techniques like heavy toothbrush splatters and cutting back into inked solids with a blade, really add a unique and textured look to his already energetic pencils.

    JEFF SMITH
    In his work on the Bone series, Smith did a remarkable job keeping up a clean, consistent style. Excellent brush control and several levels of line variety and thickness, help to showcase the fantastical yet lifelike characters. 

    CRAIG THOMPSON
    One of my inking favourites, Thompson's black lines seem to add so much emotion and depth to his work. As a result, the drawings always look fresh and unlaboured, like he just dashes them off effortlessly with his pocketbrush.

    JEFF LEMIRE
    The Canadian newcomer is quickly working his way up the respected ranks of comic artists and graphic novels with his heartfelt work. The art in his Essex County series shows control meeting insanity, as lines spatter, drip and weave all over, while never losing site of the overall drawing.

    ADRIAN TOMINE
    A study in the philosophy that less-is-more, Tomine creates visuals with subtle yet highly competent brush work. His inking creates depth and emotion, all while not even seeming to be there. And his colour work isn't half bad either!








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    Jason Dwyer Designer/Illustrator

    Jason is a multi-discipline artist based in St.Catharines, Canada, working on projects across the creative spectrum including graphic design, web design, illustration, branding, photography and fine art.
    jasondwyer.ca

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