Sunday, March 23, 2008


I scraped together a bit of a portfolio, although I didn't rent out a short-ish domain name for it yet. It's a bit disappointing, actually, because so little of my stuff so far has been completely mine. I'm looking to change that.

It was also hand-carved out of HTML in one evening, including scratching out the background image. Clunky.


Anonymous said...

I like the portfolio, colin. I especially like how you've divided the work into real and unreal. I always picture your black and white stuff as covers to sci fi fanzines. they are very pretty but also very raw.

Tim Akers said...

My one concern on the portfolio, and something Lou said when he talked about it, was that there aren't a lot of finished pieces. What's there is nice, but you've got to give the potential client an idea of what the final piece is going to look like.

Of course...secret project.

colin said...

My feelings too. There just isn't enough, and not enough "finished" work, to have a really good portfolio. I waffled between putting up what I had, in hopes of adding more later, and not putting anything up at all, and decided in favor of having something at least, even if it wasn't ideal.

So, hopefully I'll be able to fill out the portfolio over the next few months, and I hope I don't scare off too many people permanently with my unfinished work in the meantime.

Of course, now I'm waffling about hiding it away again...

Tim Akers said...

Leave it up. Better to have a central space with something up than nothing at all.

Of course, when we're walking around a bar in Denver, you better have a business card with an address on it. I'm just saying.

Tim Akers said...

I have another question. Art fascinates me, so patience.

When talking about the portfolio, to delineate between things you've completely made up, and things you've copied from pictures. Isn't normal to use some sort of source material, even if the final product is of a made-up environment?

colin said...

Ah, the division is rather whimsical, really. People divide up their portfolios in all kinds of ways. The way mine works is this: The pictures in the "Real" section are more-or-less straight copies of real things. The pictures in the "Unreal" section are not. But that doesn't mean I used no references at all when drawing them.

Some pictures are drawn with little or no reference. For example, the picture of the woman falling backward was almost zero-reference. The figure of the woman sleeping in the last picture was done with no reference, although the man's face was done with a reference (but with different lighting). The woman wearing the kimono was done with a reference for the figure, although it was a man, but no reference for the kimono (well, I think I looked at pictures of kimono, but none in anything like that pose).

But anyway, it's not reference vs. no-reference, but more like "normal" imagery, vs. abby-normal. (After all, clients don't generally care if you can do something without a reference-- they just want the image.)

So, if I ever finish that cowboy/senorita poster thing it will probably end up in "unreal" even though they are real people, because it was composed from my head to look like somebody, but not copied from any single picture or meant to represent a real-world scene.