Design insights & tutorials.

Go Media’s Rapid-Fire Illustration Technique

fast illustration

Go Media’s Rapid-fire Illustration Technique

Hey Designer and Illustrator faithful! It’s time for another wicked tutorial from your brethren here at Go Media. I had a particular project I was working on recently that I thought would make a great tutorial. The technique I would like to share with you is a little illustration short-cut.

When you need to create something with that hand-drawn look but you’re on a tight time line – this is one way to do it fast. The project I was working on was a t-shirt design for Black Ace Clothing. They’re great guys and pay us well so I am not normally rushing through their projects. But on this particular project I had already completed a large hand-drawn illustration for the back of the shirt. They wanted an additional illustration for the front of the shirt, but I was concerned about the total budget for one t-shirt, so, I busted out this little trick of mine. It saved me time, and saved them money!

PSST – shameless plug: I recorded a five-hour video tutorial with solid instruction & a healthy dose art creation. Check out my quick video overview on Vimeo and download the full video tutorial on the Arsenal.

The Design

Let’s start by taking a look at the final printed t-shirt:

fast illustration

Here is both the front and the back of the design. The quote on the design is: “Sticks & stones may break my bones, but words will never hurt me.” This is a really cool project because this t-shirt design is destined to be worn by Tiffany Michelle on an up-coming reality TV show. So, given the potential national exposure, we wanted to really hit a home run with this design.

The part of the design that uses my rapid-fire illustration technique is the front design. You can see it here in more detail:

fast illustration 43

This image shows a 3-color design. In the end production of the shirt you’ll notice that Black Ace decided to keep the front design simple (1 color) as to not over-shadow the back design, which is 4 color with a gold foil print.

The Tools

Just so, you have a full understanding of the entire design process we went through, I will show you how I did the back, then reveal my rapid-fire shortcut for the front illustration. Before I get ahead of myself I should give you a list of the tools you’ll need for this illustration:

fast illustration 3

  • Bristol Drawing Paper (plate, smooth or vellum finish.)
  • Pencil, Mechanical Pencil, (I used a Koh-I-Noor Technigraph 5611 mechanical pencil)
  • Mechanical pencil sharpener
  • Staedtler Mars Plastic White Eraser
  • #1 or #2 fine-tip paint brush or crow quill pen (I used a #1 Windsor Newton University Series 233)
  • India Ink (I use Higgins Calligraphy Waterproof Black Ink)
  • Light Box (Or a window will work too.)
  • Scanner
  • Computer
  • Adobe Illustrator
  • Access to the internet or some source of photos

The Concept

Let’s do a quick fly-over of how the back was designed so you can understand what lead us to the front. For starters, Paul Davis – my contact over at Black Ace (and a mighty fine dude if I may say so) sent me over this concept layout.

fast illustration 4

Now, I know this may look a little rough, but I was actually very impressed with it. Not many clients come to me with such a refined concept. And while this particular incarnation of it doesn’t look so good – I could easily see that this was an awesome layout with great potential and just needed to be fixed up on the production end. Paul asked me to work with this concept, but to also sketch up two additional concepts for this design. Now, there is no shortcut to this early process. This is just a lifetime of drawing that allows me to do a real quick sketch. But as you’ll see later, the details I put into these are really not necessary. All you’ll really need to focus on is placement and size of your elements.

Here are the three sketches I did for Paul.

cocept sketch
This first one (above) is my interpretation of his rough layout. Now that it’s in this rough sketch phase you can start to see the potential. I KNEW this one was the best of the three, so I pushed to work on this one.

concept sketch 3
concept sketch 4

Above are the other two sketches I did, but Paul was wise enough to go with concept #1 (his own original layout.)

At this point I just drew this. There were no shortcuts used on the back design. OK, maybe one—we do own a skull over here at Go Media. Whenever I’m drawing a skull and need reference, I can pick it up and hold it at various angles to see how to draw it. And no, it is not the head of a Boston Red-Sox fan (Go Tribe!)

finshed pencil drawing

Above is the scan of the pencil sketch for the back before I inked it. As you’ll see, I left the text off because I knew I was going to drop that in with Adobe Illustrator later. Also, there will be a Black Ace logo in behind the banners. So, that too was just roughed in. As I said before, I’m not going to go into all the details of the back design, just a fly-over so you can see what I’ve done. For all my pencil drawings I use a Bristol paper because it’s very thick. This allows me to erase without fear of tearing the paper. Bristol paper also allows me to ink it without fear of the ink bleeding through to my desk. I use a mechanical pencil, well, just because it feels better in my hand then a regular wooden pencil. I use an HB or H hardness lead. Although the B, B1 and B2 leads feel GREAT when I’m drawing, the lead is too soft. It smudges all over the paper and makes a big mess. So, I use the harder leads.


Once the pencil drawing is done, I bust out my brush and “ink” the drawing. I use a paint brush because it allows me maximum line weight variation. Or, in layman’s terms – I can make my lines as thick or thin as I want. By varying the weight of my lines it gives the illustration a ton of character that is hard to duplicate on the computer.

close up ink brush
You’ll notice a big roll of masking tape near the end of my brush. I put this on my brushes because I have big fingers. This gives me a better grip of my brush.

I make a lot of little shading lines that look best if they start as a thin line and thicken as they work their way into the dark. A crow quill pen can also accomplish the same effect. If you’re going to use a crow quill pen I suggest using a Hunt Artist’s Pen tip #512 and 102.

quill pens


Once this Illustration is done, I scan it into my computer using our flat-bed scanner. We’re fortunate to have an over-sized scanner here at Go Media. This over sized scanner allows me to scan the whole illustration in one single pass.

flatbed scanner

Not long ago we only had a legal-size scanner. I would have to scan my larger drawings in two or three pieces then assemble them in Photoshop. That was always a pain in the ass, but hey – what can you do? As I am planning on live-tracing this drawing in Illustrator, the higher the resolution the scan is the better. I like to scan my inked drawings at 500 dpi.

finished back of illustration

finished back of illustration 3


At this point I have my finished inks are in Illustrator and I’m ready to add my copy and colors. For this design I wanted an edgy, almost medieval font that looked like it was hand painted so it would match the rest of the illustration. I did an extensive search and found the font you see here.


I won’t tell you where I got it – ancient Go Media secret. Obviously, it was perfect!
I used the Effect>Warp>Arch tool in Illustrator to get the copy to follow along the shape of my banners. Then it was just a lot of nudging, kerning, stretching and scaling to get all the letters where I wanted them.
font two


I started the coloring by creating one single shape that filled the entire design. I made this by simply making a copy of my vectorized line art, selecting it, and then doing the following: Object>Compound Path>Release, then Object>Ungroup, then Pathfinder>Add to Shape Area. Basically this process broke all these vector pieces up, then merged them into one single shape.


outlines 2

outlines 3

outlines 4

Next I pick my colors. Paul was printing this shirt with silk screens and has asked me to restrict my design to 4 colors. I know that I’ll need a range of color values so that I can color both shadows and highlights. Here are the four colors I picked. I would love to give you a long explanation for why I picked these exact colors, but I don’t have one. I just picked some colors that I liked and thought worked well together.

image of four colors

As I was planning on putting this design onto a black shirt, I start by swapping my line art’s black with my darkest purple. It needs to be bright enough to pop off the black, but dark enough to act as my darkest value color. Next I fill the entire design with the middle value of the three remaining colors. This allows me to add shadows and bright spots to the middle. That’s much easier to figure out than any other method.

back design

Once the middle value fills the shape I do my shadows next. If you’re wondering how I decide where to place my shadows – well, nothing magical here. I look at the shape, imagine it in 3D, imagine a light source and give my best guess at how the shadows will fall across the object. If I have a reference photograph or the actual object (like the skull) then I can hold it up to a light and see exactly how the light falls on the object.

back design without highlights

Once the shadows are done, then the highlights are fun and easy to drop on. Remember where your light source is!
back design without radials

The last step is to add some finishing touches. For this design I added some radial vector shapes from Go Media’s Arsenal. I use these types of stock design resources to finish off a lot of my designs. They’re another fantastic tool for saving time.
finished back design

And viola! The back design is finished. Last step is to pimp out the design on a sweet t-shirt template and present it to the client. (Designer’s Note: Taking a little extra time to mock-up your designs really has a huge impact on the client. It’s one thing to see a flat design, but to see an actual t-shirt with the client’s design ON it! Wow! Now it’s REAL.) For this, of course I use the FINEST t-shirt templates ever made – Go Media’s of course. And they’re ultra fast and easy to use because the shirt is already masked with the highlights and shadows on their own layer. So, you just drop in your design and poof! It looks like a real printed shirt! (Ok, gratuitous product plugs are done.)
mocked up back design

Now for the really good stuff.

At this point Paul was ecstatic with the design (correct me if I’m over-stating your satisfaction level here Paul.) But he wanted a little something for the front of the t-shirt as well. Since he liked the sketch #2 that I had done, he asked me to make that one as well.

This front design was intended to be printed smaller and was also on a very tight budget (since the back had taken so much time/money.) I needed an illustration short-cut. I needed a trick. I needed Go Media’s Rapid-Fire Illustration Technique!

So, here is the way to really speed up an illustration project: just rough-cut together a bunch of photographs into your intended illustration. This will be easier if I just show you.

Rough Sketch

original sketch
Here is the original sketch.

Rough Photo Collage

photo montage over original sketch
Now, obviously, this technique doesn’t work for all things. If Paul had asked me to illustrate a superhero flying with a dog under his arm, well, the likelihood of me finding that photograph would be remote. But this design had mostly common objects – roses, a skull, rib cage, bones and a banner (I couldn’t find a banner in the right pose, so I just left a spot open based on my original sketch.) Also, this is a fairly clean assembling of photos. In truth, it can be way rougher than this. This image is just to be used as a guide to help you get your illustration going. You can clean up and fix all the little details while you’re drawing.

Collage To Sketch

So, the next step is turning this photo montage into an illustration! Start by printing your photo montage at the appropriate size. In this case, I wanted it about 8 inches across. This is approximately twice the size the final design will get printed on the shirt. (Illustrator’s tip: Whenever working on an illustration – create it at about twice the size you’re going to print it. This allows you to be a little sloppy. Once it’s shrunk down to the final size it will look super tight! People will wonder how you got so much detail into it.) Ok, where was I? Oh yeah – turning our montage into an illustration. Now that you’ve printed out your photo montage, you want to tape it to a sheet of your Bristol paper. Make sure the printed side of your montage paper is facing the Bristol that you’ve taped it to.

photo montage front

photo montage frotn 2

Now take out your trusty-rusty light box and place your paper on top of it, Bristol paper up! Next, you’re going to draw your illustration using your photo montage like a draw-by-numbers guide.

photo montage on lightbox

If you need to change, exaggerate, or edit the photo montage, you can make corrections now. On this design, for instance, I thought the skull’s bottom jaw was waaaay too large. So, no problem, I just ignored the photo and drew it a little smaller.

photo montage held up to window

If you don’t have a light box, you can always use a window during the day! But make sure not to push too hard! I don’t want you falling through your window.

This phase of the drawing doesn’t have to be perfect. The photomontage is there to help act as a guide. While on your light box just get all the major shapes in place. Then you can turn your light box off and finish the drawing using your innate drawing ability (if you have that). You can strengthen your lines, add shading, details, etc.

In this case time was at a premium and I knew I would be inking this myself, so I really just hammered the drawing out quick. I trust my ability to do a sweet job during the inking phase. Here is the finished pencil drawing I did using the photo montage as my guide.

finished front pencil drawing

You can see that I invented a lot – particularly the banner. Now, obviously I have years of drawing experience, so it may be a bit easier for me to “invent” details that are not actually in the photomontage.

So, that’s really the end of the “shortcut.” While this shortcut may still seem labor intensive, I can assure you that this will save you some serious time. The photos give you all those little details that you would otherwise have to invent. Also, having the photomontage as a guide completely eliminates the possibility of total failure. If you’ve spent any time drawing you certainly know this is a real possibility. I’ve personally had plenty of days when I simply cannot draw what’s in my head. After several frustrating hours and a waste paper basket full of failed drawings, I’ll usually just quit for the day and start again the next. Using this photomontage technique will leap frog you right over any of these types of problems.


Now we proceed as we did with the back design. Using Higgins Calligraphy ink and a #1 paint brush, we ink our illustration. Here are a few inking tips. First, your lines should be thinner on the side of your light source. If you have no light source, assume it’s coming from the top. So, if it’s a bald head you’re drawing, the line beneath the chin should be thick and the line on top of the head should be thin. Also, objects in the distance should be drawn with thinner lines. Objects in the foreground should be drawn with thicker lines. Using these techniques will give your drawings a sense of depth and character.

Here is the finished Inking of this drawing:

finished ink of the front design

I was always a big fan of the comic strip Calvin and Hobbes, of course, who wasn’t. But it wasn’t just the brilliant writing. You could see that Calvin and Hobbes had been painted with a brush. Just look at all the character in the line art. You can see the thickness of the line weight varying dramatically.

closeup calvin hobbs photo strip

Compare that to another comic I love: Foxtrot. The writing is still great. The characters are hilarious. But the line art is kind of flat and boring in my opinion. This is the difference between using a brush (or crow quill pen) and using a regular felt tip pen when inking your illustration.


Now we go through the same process that we did for the back design. I’ll break it down into numbered steps for you here. Sometimes that’s easier to follow:

1. Scan the art at 500dpi – save as jpeg.

2. Place the art into Adobe Illustrator.

3. Select the image.

4. Convert the line art to vector: Object>Live Trace>Make and Expand
live traced
5. Get rid of all the white shapes that the Live Trace function creates. Using your open arrow tool, click on any one of the white areas of your art. Then select the rest by clicking: Select>Same>Fill and Stroke. Warning! In illustrator this function grabs EVERYTHING that has the same fill and stroke, so if you have other white objects with no stroke in your document, it will erase them too! Once all the white shapes have been selected, hit delete.

6. Make a copy of your line art. Either select it then Edit>Copy, Edit>paste. Or select it and hit control+C, then Control+v. Or, while using your arrow tool, hold down the alt key, grab your line art and drag it to a new location. All three of these methods will make a copy.
two copies line art
7. Create your primary color fill object. Select the copy of your line art and use function: Object>Compound Path>Release. Then Object>Ungroup, then Pathfinder>Add to shape area.

Ok, now at this point you should have your line art and a single shape “fill.”
line art next to fill

8. Add your copy. Now, just like on the back we’re going to use Adobe Illustrator to add our copy. It’s a simple text box with an effect>Warp>Arch applied to get it to fill our banner.
adding text

9. Color your design. The coloring on this side of the shirt is even simpler than the back. Paul asked for a simple 3-color design, so – that’s what I gave him. I’m going to be using the same colors I selected from the back. So, the line art is a dark purple and the primary fill color is a yellowish bone color.

purple fill

The one additional color I’ll add will be the shadows.

purple line art

After an initial proofing Paul felt that the rib cage was not working in the design. No problem! I just created a shape to remove the ribs and then used the Pathfinder>Subtract from shape area. I did this twice – once for the line art and once for the color fill.

knocking out rib cage

no rib cage

And that’s it. Here is the final design for the front of the shirt. I got this entire piece done in about 5 hrs. 1 hr. to find these pics, 30 minutes to piece them together, 1 hr. to do the pencil drawing, 2 hrs. to ink, and 1 hr. to scan, vectorize and color!

I want to give a big shout-out and thank you to Paul and Howard Davis for being such cool clients and allowing me to write this tutorial! For some reason a lot of our clients are overly protective of their assets and don’t let us show off our work! This shirt is NOW available for pre-order at or click here to get directly to this product.

Thanks for your time and attention. I hope you enjoyed this tutorial and learned a few new tricks!

About the Author, William Beachy

I grew up in Cleveland Hts. Ohio and was drawing constantly. As a child I took art classes at the Cleveland Institute of Art and eventually became known as the "class artist." I graduated from The Ohio State University's department of Industrial Design. I have always tried to blend my passion for illustration with Graphic Design. Go Media was the culmination of my interests for both business and art. I'm trying to build a company that is equally considerate of our designers AND our clients.
Discover More by William Beachy


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  • williamrodriguez

    Very nice tut! I enjoyed watching your process of creation and love that you show the way it's suppose to be done. I feel sorry for the designers out there that go straight to the computer, I think that it is possible to create a good design only on the computer, but to create a great design, we need to use traditional tools in order to gain an organic style that mixes the best of both worlds.

  • Dellustrations

    Awesome Art man! Keep up the good work!

  • Edward McIntyre

    Awesome tut! I have stumbled upon a similar technique as of late and I have been really enjoying the new side of creativity it has brought me. Thank you for offering some insight into your process.

  • ivancruz

    BB fonts are the best ;)

  • Adam_Wagner

    Bill, this is an incredible illustration tutorial. My favorite part was seeing how you integrated the “stick & stones” typography onto the banner.

  • g3niuz

    great tutorial again guys..

  • Tim

    awesome tutorial. i even managed to pick up a few new illustrator tips. never new about the “select>same>fill and stroke” before. Should save me a bit of tiem in the future.

  • BajeDrift Motorsport

    Very inspiring.
    Having not gone to Art school, tutorials like these show persons like me where to go next in their personal development.
    For me, more time with the pencil and getting to know the paint brush.


  • Callum

    Great post, real interesting read. I've never though of doing something like that with a collage before, might have to give it a go one day. Have to get myself some of that ink, too! How much is it for a good pot?

  • uncle_kaos

    Very nice insight into how you make a design. Being an illustrator myself, I knew a lot, if not most, of the techniques, but it's always nice to see how other people 'cheat' like oneself. ;-)

    One thing that caught my eye on the back design though: Seems like you left out a chunk of the top left femur (just below the word 'Sticks' on the banner). Neener, neener… :D

    The font suits nicely, but you need to tell us what the hell it is!

  • Jan Martin


  • clint

    Very nice tutorial and I really like your work. In my experience though, if I were going for speed, I would skip the hand tracing and brush inking and go straight to illustrator with the collage. Then I would trace and draw the details and outline the strokes, tweak and thick and thin them to look inked. Here's a similar illustration I did and if I added shading I would have about 4 hours into it.….

  • whacko

    Nice article!

    For your “Step #5: Get rid of all the white shapes that the Live Trace function creates” There is a setting in In Illustrator CS3 & 4's Live trace that will do this automatically. If you click the little down arrow next to the Live Trace button you can acces the “tracing options” at the bottom.

    In the Tracing Options window there is a small checkbox on the right called “Ignore White” which basically ignores everything that is a shade of white. This is very useful from seperating line drawing from the paper they were drawn on. I usually make a preset called “Ignore White” in my list of Live Trace presets because I use this all of the time.

  • William_Beachy

    Great tip Whacko! I didn't know that. Still learning!

  • Jessica

    Holy frijoles! That is wicked awesome!

  • Geoff May

    Great tutorial. You should try out Cocoapotrace for doing your live tracing. I find Illustrator's live trace function does a mediocre job. Cocoapotrace gives you way more control over the output.

  • Jim Felder

    Wow, I love reading your tutorials. You guys are all amazing artists. Thank You.

  • Brocktoon

    Damn, these tutorials are invaluable. You guys' designs are sick. Keep it up, much appreciated.

  • Nick G Botner

    I like this! Thank you for sharing the quickfire. Definitely something to think about with future projects.

  • aetoricdesign

    Great tutorial with some really valuable tips.

  • Simona

    Fantastic work, thanks for sharing. It was enjoyable to get a look into your work flow. Great stuff.

  • kaplangdesign

    really cool, thanks for sharing :)

  • Riggit

    So true. I've never inked a sketch before so it never crossed my mind. Spent days digitally inking a sketch for a CD cover, then stumbled across this tutorial. Now I'm feeling like a big ol' idiot! I drew the dang thing why not ink it too?! Save my self hours of work and headache. In the end it will look ten times better anyway. Gah, when did I forget how to make anything without a computer?

  • Riggit

    Wow, that is one great tutorial. Thank you for offering such incredibly useful information!

  • Jonathan Bennett

    I always wondered how stuff like that is done. I'm not much of an artist. Now, if only I could learn to draw halfway decent with a pencil. :)

  • Simon H.

    Bill this is great! I love your way to explain the step by step process from drawing to inking. When is the drawing tut released? ;-)

  • Jeremy Jer-El Darko

    That's fantastic. I will gladly share this with others

  • whatwhat

    This is absolutely great bill!
    I think this is one of the best ways to do graphics!
    Very fun as well. :)

    In response to william rodriguez's comment. That has to be one of the most absurd statements ever made. “I feel sorry for the designers out there that go straight to the computer”

    It's very possible to make incredible design using only the computer as a tool. Most of the “real” designers have wacom tablets to utilize for illustration, inking, sketching, color, what have you. Therfor being able to Bypass this whole process. Or, even do this same process just all digitally.

    Don't get me wrong i absolutely love this way of doing illustrations but, it is very possible to do this on a tablet straight into the computer and achieve an “organic look” You know it, i know it, we all know it. At least that's my opinion.

  • Esteban Dido

    Mr. Bill. Can you please tell me/us the settings you use to scan your artwork and the settings to livetrace? I'm having issues. Looks crappy when I live trace.

    I scanned the artwork on “illustration settings”. Livetrace: I tried all the presets. How do I get rid of all the jagged edges?

    Thank you very much for this tutorial and the comic book style. Read both to understand this process alot better. So cool.

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  • juano

    The font is Dead Ringer by Blambot.

    If you like like hand drawn comic book looking fonts try

  • juano

    Do not use the presets. Click on the little down arrow next to the Live Trace button and go all the way to the bottom one called Tracing Options.

    This will bring up a dialog box. Make sure you click on the Preview button. It is off by default. Adjust the Threshold slider to get the look you want. There are other adjustments in this window but I have been able to get the look I wanted by adjusting the Threshold slider.

  • jay74

    Great stuff, the only thing I don't understand is the shadow and highlights steps, how did you do that, seeing as on everything you saved time?
    Did you draw them by “hand” in Illustrator, must have taken you some time than.

  • Esteban Dido

    Ooo, thanks alot. Im gonna try it right away. I had been using illustrator 10 so livetrace is new to me! Thanks for helping out!

  • madmadman01

    good tips bro

  • mariotroise

    I never really followed Go Media's work because I thought all you did was create vectors from old illustrations. This changes everything. You have my respect now!
    These days designers work most of the time with free vectors and create almost nothing.
    Thanks for sharing!

  • dcloud

    Bil, this was an awesome article to read. I love seeing how other illustrators do their work. I especially liked the part where you comped it on a t-shirt for the client to see. I do something similar myself – I put the client's design (logo, header illustration, etc.) onto a screenshot of their web page so they can see what it will look like.

  • Codrin Sava

    It's incredible how this articles explains … just about everything.

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  • vp203

    i wanted to ask you, what do you then do when you have live traced it in illustrator? please help me ! :)

  • whacko

    It depends on what kind of artwork I live traced, and what my intended purpose for that artwork it. A lot of times I live trace photos of concrete or other rough natural textures which are then applies behind graphics elements (skulls and whatnot) to give a gritty or grunge feel. The reason I live trace instead of just using a photo is that I can apply gradients or gradient meshes, transparency effects etc to achieve a desired result.

    In the case I am livetracing an illustration that I created, like a skull or graphic ornament, I will then usually apply basic shading in one or two colors (usually, sometimes more) in a manner similar to the method described above. I might also take the opportunity to “clean up” my illustration with Illustrator vectors which are far more steady and accurate than my own hands.

  • vp203

    hey whacko thank you soo much for the helpful information, i was wondering if you have msn or icq or even skype? if its possible if we can chat, uhm i dont know how you could get my detials or if i could get your details. I am a professional motocross rider but also enjoy designing and so on and in the sport that i do there are always guys that are interested in that. i was wondering if you could maybe help me with some stuff or help me get better.

    uhm if you have facebook you can add me my name is Victor Picoto. or you can send me an email on

  • Matt

    Great stuff!

  • John

    I'm surprised you guys don't use a Cintiq. It makes illustrating so much easier and it's such a huge time saver. To the one who said that he feels sorry for illustrators who only use a computer, that person has obviously never used a Cintiq. Drawing directly onto a Cintiq monitor feels incredibly similar to drawing on paper and you still get the “organic look”.

  • Steven

    Awesome. This is incredibly helpful. I'm gonna start doing stuff of my own.

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    I'm gonna start doing stuff of my own

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    Thank you for your share,I like it.

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  • erick

    simplemente increibles tus ilustraciones hermano

  • Alex Legend Espinal

    My favorite part is your sketching skills, I hate you in a good kinda of way. when I grow up I want to be able to sketch that well.
    even thought I saw this post long ago, still amazing.

  • Jmacevedo01

    Cool and very informative tutorail.. I think those radial vectors took away from the first design rather than help it :/ if they were more subtle it might have been better, but nevertheless thanx for sharing :)

  • Banner Printing

    Awesome set of prints. I wonder where did he get his inspiration for these designs.

  • Kristianus Kurnia

    wow… great tutorial, I like your works

  • Jeremy Eble

    I actually use the photo collage techniques when I’m designing on a computer. (Which I use more than pencil because I’ve never spent the time to hone my drawing skills.) It’s a great way to scale everything correctly.

  • Anonymous

    God! You make it look so easyyy

  • Psyched.bE.Blog

    ***claps hands*** bravo, bravo, bravissimo! seriously nicely outlined tutorial here ;) was fun going through the process, good job!

  • Domain Registration

     Amazing blog, I am regular visitor of this website, keep up the good work.

  • panax

    Very cool and interesting article