Errol McGillivray (illust. & visual storytelling) - [hiatus]

[Errol McGillivray]

[About me]

Where: EST NY/NJ Metro
When: I'm online just about every day. Usually later in the evening or early in the morning.
Who: 28 years old and bitter cool
Samples: Under construction
Who I accept: All levels.

Past experience outside of drawing/painting

• Several years of dance (modern, ballet, dancehall, hip hop)
  
• Some stage acting in high school
  
• Acting through puppets
  
• 3D object and character modeling
  
• 3D texture mapping
  
• Skeletal set up for animation
  
• Scripting for animation
  
• 3D character and facial animation
  
• Simple flash animation
  
• Compositing for film

Proficiencies

• intermediate/advanced "acting"
  
• intermediate/advanced mechanics
  
• intermediate/advanced perspective
  
• intermediate/advanced staging and design
  
• intermediate/advanced gesture and posture
  
• intermediate/advanced creature design
  
• intermediate/advanced anatomy
  
• simple/intermediate Isometric drawing (scenes)
  
• simple/intermediate costume design
  
• simple/intermediate multiple character integration
  
• simple/intermediate figure drawing
  
• simple/intermediate line quality
  
• simple/intermediate use of media
  
• simple/intermediate sequential art
  
• simple/intermediate anatomy
  
• simple shading/color
  
• kindergarten/simple vehicles/mechanical structures
  
• kindergarten/simple architecture

Dedicated mentees (Limit 2.)
---->
---->

NOTE: As of Sunday, March 14th, I am scheduling one evening a week to critique, due to time constraints. I am currently:

-Working with a small team, opening and operating a dance studio in NJ. (wearing many hats, both art and administrative) - on haitus due to the economy
-Planning, writing, and editing a book that's scheduled to be submitted for print by Nov 1
-Conducting a weekly cartooning/comic class in NJ - On hiatus until I reboot with a new set of students
-Working a full time corporate job that has nothing to do with art

I am currently burnt out and not taking any dedicated mentees.

Thank you.

[Easy target Mentee FAQs]

How do I become a dedicated mentee?
Ask.

I love you so much I need YOU to critique me even though I'm not a dedicated mentee.
That's not a question, but you can read this restraining order. It'll tell you what to do.

Can I get a critique even though I'm not a dedicated mentee?
Anyone can request a critique if they feel I may be the right person for the situation or just want an opinion on something. Dedicated mentees get my attention first.

I have a tendency to neglect to read carefully. Can I ask you a question that's answered before I ask it?
I don't believe in stupid questions, but I do believe in lazy ones. Ask a lazy question, and you get a d**k answer.

[What I expect from you]

When you post your work I want to see:

• The image itself if it's not huge or a link to the full view image by itself if it is huge
  I'm not a fan of link hunting or waiting for your gallery to load and then having to take another step to full view.
  
• What you used and how long it took
  If it takes you really long, and you're getting confused, there could be faster ways to do what you were doing, only more efficiently.
  
• What YOU think of your piece
  I can't say it enough. All my hours of critiquing is worthless if I'm not telling you how to do what it is you want to do. Just include a couple of sentences to let me know where your head is at. What is your objective?
  
• A 2-4 sentence self critique.
  What you like. What you don't like. This help me gauge your eye as well. Developing your eye is just as important as developing your hand.

I'm on the clock for you, but only if you're going to show me that you're serious enough to do more than drop an image and never even read the critique.

Professionalism

Maturity
The mentors are really putting a lot of effort to be helpful. Please respect that. All I ask is that you take the time to read the critique. If there's something that you don't agree with, discuss it. Don't just blow it off. If you aren't responding with the same amount of dedication that I'm giving, you won't be my mentee for very long.

Presentation


• Clean your scans. That includes:
  
• Adjusting so that your art is visible when you scan or take pictures
  
• Removing lines from paper
  
• Resizing. Big enough to see, but not so big that I can't open it on dial up. This goes for images and links. If your link is a page stretcher, please use the URL button when you post.

Effort
It doesn't matter what your level of skill is, people can see the time and effort put into what you do. So, if I see

When you and I know damn well that you took about 45 seconds to make it... let's just say that I'll be disappointed. Very very disappointed. As I wring your neck like a chicken.

Note: I will look at millions of quick sketches if you want. Please try to compile 3-5 per page. Also, when I say clean, that doesn't mean that you erase construction lines. It's good when I can see them on WIPs and practice sketches.

[What you can expect from me]

As a mentor, I promise in-depth, thoughtful, and solid critique to the best of my abilities. I've been known to make tutorials through the use of draw overs and illustrations. I'm willing to spend anywhere between 2 and 4 hours on a critique, and expect it to not be ignored or pissed for whatever reason. I stopped critiquing in PP for this exact reason. I don't like to waste my time. I'm open to discussion about the piece and will do my best to give as much support as possible to those I work with.

Things I tend to cover in a critique

• anatomy/structure
  I go over the overall structure of figures and objects. I look for proportion, shape, volume (if applicable), weight, balance, and mechanics.
  
• staging/'camera' angles
  I don't know much, but I do know something about placement of characters and objects an how their relation to each other on the page will change the message the viewer gets from the drawing. I also have some experience with storyboarding and camera shots.
  
• gesture
  This is where I have the most experience. My experience in animation and stage performance helps here as I spent a lot of time focusing on non-verbal communication and gesture.
  
• Perspective
  I know some overall things about perspective and foreshortening. I'll do my best to help.
  
• style
  I don't say anything is right or wrong about style. I do however help you explore things about your style that may not work for what you're doing or suggest ways that you can strengthen your style. Mostly, I just make sure to take your style and intention into account when writing a critique.
  
• overall design
  Focal point, color choice, staging, eye flow, value, line, and all the things that make art such a chore, at first, but come to be second nature in time.
  
• objective and intention
  I can't say it enough. I will ALWAYS consider what it is you're trying to do and try to help you do that better. If I can't figure it out on my own, I'll ask what you tried to do and then try to help you make that happen.
  

A note on drawovers and tutorials
I frequently purge my photobucket, but I'm willing to make a pdf of any image heavy critique. Just ask me. You can request tutorials as well. Those may take some time though. They will automatically be pdfs that will be available to anyone that wants them.

[What NOT to expect from me]

I'm probably one of the realest people you'll have to displeasure of coming across. While you can always expect complete honesty from me, DO NOT expect me to:

• Sugar-coat.
  I'm not going to tell you something is good when it's not. If I think something is poorly done, you'll know it. At the same time, I'm going to help you fix it.
  
• Argue with you
  
• Do anything illegal for you
  I will point you to free things, but no pirate for you.

 

[Errol McGillivray]

[Do This! Now Do This!]

Anyone and everyone is free to try these. There are mostly designed to be fun and relaxing, while allowing you to harness your creativity and effectiveness in illustration and storytelling by putting all the communication knowledge you have hiding in you into your drawings.

[1. Relationships Galore!]

There's a long sofa with 2 guys and 2 girls sitting on it during a frat party.

Sally seems to have attracted the attention of a very confident jock, who is chatting her up. She's not interested in his bragging, but she doesn't want to be rude or hurt his feelings.

The ever self conscious, Poindexter is sitting on the same sofa. Sally's best friend with the nerd fetish wants him BAD, but he is too nervous being around all these people to notice. All he can think is that he should have told Tod to go to hell and .. where the hell is Tod anyway?

You're looking at this from across the room. Here's the catch though. You're wearing inexplicable x-ray goggles, all you see are their skeletons. No meat. No clothes. And most importantly, no faces. (You see the couch though, for some reason.)

The rules you must stick to are:


• flat, frontal view only. (No dynamic angles or anything.)
  
• don't exaggerate facial expression into the skulls
  
• You can paint it or work with lines. Whichever floats your boat, but for the sake of time, keep the skeletons really simple.
  
• they can be holding props.

Time limit: 30-45 minutes. This keeps you from antagonizing over accuracy of the skeletons.

The point:

To use gesture, non-verbal communication, and staging to describe the relationships between the characters, as well as tell the complete story about who they are, what they want, and how they try to get it, in a single, simple image.

Test yourself

Flip the personalities, but don't change the actions.

Sally is a rude, self centered b***h.
Jock has a name, but nobody knows it. Sally sits next to him in class, but doesn't know his name. He fears rejection.
Sally's best friend is shy.
Poindexter is confident, cool, and collected.

Time limit: 30-45 minutes.

Compare and Analyze

Answer these questions honestly, but only after you've done both images. No peeking!

• How did changing their personalities, but not their goals affect the image?
  
• How did changing their personalities, but not their goals affect the story?
  
• Did you force yourself to place them in the same spatial relationships that you did in the first one? Why?
  
• Did you change their spatial relationships in the second one? Why?
  
• Did you have trouble flipping the story without flipping the events?

These are meant to do one right after the other. The most the entire thing will take you, even if you're slow is 2 hours. This isn't about making the picture look nice. It's about gesture.

[2. Line of Action Who]

Coming soon...  

[Errol McGillivray]

Posted from my assignments thread I ran over the summer

Errol McGillivray

[Week 1]
5/28 - 6/3
Critiques run 6/4 thru 6/10

Things That Go Bump - Monster Design

Assignment
There are some seriously crazy monsters out there. The angler fish is a prime example of natural creature design. It uses a lighted worm like structure that comes from it's head to lure unsuspecting prey towards it's hideous maw.
http://www.marianatrench.com/pics/anglerfish.jpg

Design a monster. It's habitat, eating habits, and mode of travel are up to you. Things to ask yourself:
Where does it live?
What does it eat? How does it eat?
How does it move? How fast is it? How does it move long distances?
Is it out and about with the sun or the moon? Is ther ever any light where it lives?
Where does it stand on the food chain? How does it defend itself and how does it attack?

There is reference material and examples of how the answers to these questions will determine the biology of the monster all throughout nature.

Bats live in the dark. Their eyesight is poor, but their noses are good. They also use echolocation to "see" long distances. There are undergound caverns where the fish and reptiles that live there have no eyes at all. Who needs them when you live in complete darkness.

Whether your monster is horrific or cuddly is up to you.

Requirements

• The creature's biology should reflect its habitat, eating habits, and mode of travel.
  
• The creature should be living in nature. No demihumans or established mythological creatures. (ex. naga, werewolves, undead, or snakes with jetpacks that shoot lasers.)
  
• Lineart of the creature only. (No background is needed.) Please ink your pencilwork.
  

Objective
To create a convincing creature design that demonstrates an ability incorporate various elements found in nature creatively.

Dlin's advice on focusing your idea to draw.

I'm going to do some of these again for practice. Figured I'd share so anyone that wants to can give it a go too.  

[Errol McGillivray]

Tutorials and Tips

Imagine FX Feb 07 Issue

Top Ten Essencial Art Skills pg 1
Top Ten Essencial Art Skills pg 2

Structure of a Man - Video Tutorials

Proportions

Ideal Male Proportion
Ideal Female Proportion
Male/Female Proportion Comparison (Side)
Male/Female Proportion Comparison (Front)

(Side View) Male/Female Torso Comparison (Skeleton)
(Back View) Male/Female Torso Comparison (Skeleton)

Identifying Relationships

Drawing Likenesses - Heads

Head Drawing - Gnomon Workshop reprise

Edges

Drapery

Figure Drawing

General Art Tutorial

Color Theory

Digital Painting

Easytoon Animation

Concept Art 101

Skull, Facial Muscle Anatomy and Facial Expression (Flash Application)

Various Photoshop tutorials (there's one on focal point as well)

Digital painting tutorial

Link List

Resources
Contortion and Dance Videos
Foundation Activities
How to get into the games industry as an artist




Reference


Books

Force: Dynamic Figure Drawing for Animators

I think this really ties in what I'm learning in my figure drawing class, to what I actually do. I'm a cartoonist and I get bored with the rigid figures. I love to see dynamic figures that look caught in motion.

Muscles in Motion: Figure Drawing for the Comic Artist

This is really mostly a collection of figure drawings, but I find that he does a great job capturing motion, power, and attitude in his figures. Also something I find lacking when drawing static models. They bore me and make it difficult to motivate myself to do the work. I know the training isn't fun (applying it is) but sometime you need that motivation to get through the training.

Facial Expressions: A Visual Reference for Artists

I had my eye on this one for a while. It's got great reference with people of different ages and ethnicities. Also, the expressions go from subtle to extreme. They also cover the skeletal and muscle anatomy of the face with photos. What I like the most though, is that they include sketches that use the reference photos in the book with each set. That helps people see how you can reference as opposed to copy from a photo.

Magazines

Imagine FX

Awesome international magazine that features digital artists from around the world. They also have tutorials by professionals, interviews, and a tutorial demo comes with every issue.

Classes/DVD

gnomon.com

UNDER CONSTRUCTION

Sites to check out
Ben Mathis - poopinmymouth.com  

[Iyou]

(In response to what you said in my mentee thread smile

Awesome! whee That's kind of ironic, since it's my first year in college and I'm taking a stage costuming class as well (even though it doesn't have anything to do with my major). xd And no, I haven't painted any of the pictures yet. The project is due on Monday and I was planning on finishing it over the weekend.

Looking forward to your comments!  

[Iyou]

Bwaha, I'm here again!

I was hoping you could help me out with the facial anatomy of this picture. (Hey, you knew it would happen. And who better to ask help from than you? xd )

It was a speedpaint, so it's a little blocky, but comments about color themes and stuff would be great too. Whatever you have to say.



And I just can't get over that picture of Usagi in your intro post... I die every time I see it. rofl  

[Errol McGillivray]

Well, I think it looks like me, first of all. (I still need to do your portrait. I'm so behind with stuff. Especially homework.)

The only things I'd say could stand to improve since it was done quickly is paying a bit more attention to the eyes. They're quite iconic in comparison to the rest of the image. (Though, I think they are just right to illustrate my huge a** eyes). You do have some really nice subtle changes in temperature that make the fold above my eyes and that's much better than anything I can do when it comes to painting. I think that maybe the highlight on my forehead could stand to be a little warmer and maybe a little less tinted. My head isn't that shiny. xd

Try and pay closer attention to the shape of the nose though. Even in a speedpaint. (And I know it's one of the more difficult things. I notice that many people have trouble depicting noses of people outside of their race in many cases. I guess you do what you know. I know I tend to make noses wider and more blunt than I intend to on non-black people. (I've been told I have an asian nose though. rolleyes I say bullshit.)

I think you did an EXCELLENT building shape with temperature and capturing my features worked out enough that I can recognize it as me. 3nodding Unfortunately, while I can tell you some things about color theory (I'm good at that) I can't really do anything with painting techniques. I'm sure that many people will be more helpful in that respect than I can if you post this in your sketchbook. *feels inadequate*  

[Iyou]

Agh, I know! Noses are so difficult. It's not only that all my noses look white, it's that they all look like MY nose. sweatdrop I tried finding references to draw different noses a while ago, and while they looked okay by themselves, I couldn't seem to integrate what I had practiced into my actual portraits.

Guess I should keep hanging out in the portrait thread for now, then.  

[Errol McGillivray]

Well, if you ever want more pictures of my nose to practice, let me know. xd
Noses and eyes. The differences can be subtle or extreme, but our eyes will read them much easier than our hands will make them. When doing longer drawings, be sure to sight and measure and you shouldn't have much problems. I wrote a bit on sighting in that portrait thread if you need that.  

[Iyou]

Ooh, interesting assignment! I think I want to do some sort of parasite. Parasites are always fun and interesting...

As for my 3D experience... well, none, really. The only time I've ever used a 3D modeling program was at my boyfriend's house for about five minutes. I made donuts. xd

That's not to say that I'm completely without a foundation, however. I'm strong in math, so I'm not afraid to manually edit coordinates and the like to get what I want. In high school, I took a class where we programmed drawings in (I'm extremely sad to say) Q-Basic, so I understand the thought that's involved in telling the computer to make a circle/square/whatever. I'm also used to thinking in 3D and frequently have to use Z matrices in my research to describe molecules that I want. So I guess you could say I have a mindset that can easily be put to work doing 3D stuff, but I have no formal experience with it.

I was actually hoping you could point me in the direction of some programs I could use first, so we could be working in the same environment. Freeware would be nice, but I'm aware that the chances of there being a free 3D modeling program that isn't a piece of crap are close to zero... So I'm definitely not above trying to find cracks or paying for the program if it's a reasonable price.

I'm not only interested in modeling stuff, but also skinning things as well, so a program has those capabilities would be nice too. But let's take this one step at a time.

...Or we could just talk about me making shitty ball-and-stick renderings with my chemistry programs. xd

Edit: Well, it looks like Maya PLE is free, so I'll look into getting that first. Better than nothing, right? Let me know if that's okay to begin with or if I should look into another program.

Edit 2: Okay, I installed Maya PLE. Too bad it crashes and dies in a big fiery ball of programmy death whenever I try to change the camera angle. It gives me some sort of error about memory and instability... is my computer really that bad? I just got it in August of last year. :/

Edit 3: Okay, I've got the problem fixed. Apparently it was unable to use both of my CPU's or something, so I set it to run on one and it seems to work fine now.  

[Errol McGillivray]

I'm glad you chose Maya. That's the program I know. And yes, I can take you from the ground up. How about this:

Let me grab my 3d foundations book and we can go through that together. As we get better, we'll move on to other classes I took. It'll at least make me feel like that degree wasn't a waste of time. xd  

[Iyou]

Due to my completely ethical and totally legal adventures on the internet, I now have a working copy of Maya Unlimited 7.0. wink

So what will we begin with, then? It's completely up to you where you want to go with this. Meanwhile, I'm going to amuse myself by making hairy donuts. xd  

[Errol McGillivray]

Still getting caught up with school. By tuesday I will be ready to start tackling the 3D.

Oh and the IRS rejected my tax return. That's kind of putting a delay on my new computer. neutral  

[Iyou]

Stupid IRS! Can't you see you're impeding the quest for knowledge? mad

Honestly though, don't worry too much about keeping me waiting. I'm perfectly content with playing around with the program.

In the meantime, though, I'm having a hard time with this portrait. I'd like to keep the big googly anime eyes (I was told to draw them that way) and the inking style (I need to do it that way to be consistent), but I'd really like some crits on the facial anatomy. Her mouth is bugging me a lot in particular.

 

[Errol McGillivray]

I'm at work and can't redline at the moment, but I can print it out. I'll explain (as soon as they get the printer back online xd ) and then redline when I get home. Just at a glance though, I can see what's probably giving you trouble with the mouth. Check back this afternoon and again this evening.

Edit: While I was working, it occurred to me that I was assuming this drawing to be female. Is that what you're looking for? I wouldn't want to give you any information or advice that you can't use.