I always start with pencil & paper, to get down as many ideas as I can in a rough and rushed way.

Once I’ve managed to come up with an idea and composition that I like, I’ll clean up the drawing and then trace several layers with a bespoke light box (cannibalised computer monitor), using ink and a brush to get the appropriate feel to the drawings.

These then make their way into the digital world to transform into the colourful scrawlings that you can see in my portfolio.

(via Sam Brewster Composing Scenes in Brush and Ink | Ape on the Moon: Contemporary Visual Culture)

As part of Marvel Comic’s Avengers Art Appreciation variant cover series set for release in April, artist Mike del Mundo created this beautiful homage to graphic designer Saul Bass for Amazing Spiderman #683. (via Saul Bass Does Spiderman… Well, Sort Of - Core77)

“So, basically, I love pattern, shape, color and form. These are the key ingredients to my work. With my glass work, mostly, it is instinctual, I’ll have a basic idea and let loose, letting the shapes work with each other. I’ll paint on a splodge of paint then etch into it and repeat on the other side. I love working with thick glass as it gives a lovely offset feel, like a screen print, especially if the sun shines through. (via Ben Phe’s Fresh and Original Layer-driven Style | Ape on the Moon: Contemporary Visual Arts)


I stumbled on this wonderful animation sequence by French animation studio ‘Akama‘, based in Paris.

(via Line Drawings to Colour Animation: ‘Tiji Colour’ by Akama Studio | Ape on the Moon: Contemporary Visual Arts)

Ian Fleming’s James Bond collection, designed by Michael Gillette, published by Penguin UK, 2008.

(via Flavorwire » 15 Gorgeous Book Cover Redesigns)

  1. Camera: Canon EOS DIGITAL REBEL XSi
  2. Aperture: f/5.6
  3. Exposure: 1/60th
  4. Focal Length: 49mm

The making of “Hero,” a drawing of my dad composed entirely out of 3.2 million ink dots.

Hero (by Miguel Endara)