All of this talk regarding Super Bowl commercials, namely for cars and lumber and whatnot… And yet not a lot of buzz for SPAM.
It was the commercials for this wonder meat (I have already Trademarked “WonderMeat” for an adult cartoon series, so don’t get any ideas) that got my brain working yesterday. It’s such an underrated cut, you’d become clinically depressed just considering that the following exchange would never take place in some Michelin star restaurant:
“Why, yes... I’d like the Spamderloin. In fact, how about the Filet Spamignon?”
“Would you like that bacon-wrapped?”
“Seems rather redundant, but certainly.”
You’d have to wonder, though, what sort of a meat genius you’d have to be in order to discern the individual cuts of SPAM.
“Dis ‘ere, uh, particular cut is dee, uh, leg of SPAM. Which is, as you know, is remarkably similar to da arm of SPAM, as well as da chuck, loin and flank. Da majestic SPAM, when raised free-range, develops a little more devoisity in its physical appearance, as noted ovah ‘ere, wit dese little caps of gelatin-like substance.”
Dr. Brian’s ‘Learn to Layer Your Insults’ quote out of context #451:
“Second only to overcoming a scent best described as ‘backed-up sewage near a wharf’, the hardest part of doing your mom was training my penis to ignore its own gag reflex.”
“The first-ever BMW 2-series.”
Just great. Now we can have people with even lower credit scores driving like complete fucking assholes. At least the Mini Cooper owners will have some competition.
On a much more positive note, I imagine a future where the leading Kickstarter campaign utilizes alien-level tech to siphon some of that perpetual right-turn signal energy from every Toyota Avalon to allow a percentage of Infiniti and Lexus drivers to experience the thrill of illuminating at least one blinker bulb at some point in their vehicle’s life cycle.
This month marks twenty-five years of the web.
Enjoy the FIRST-EVER cat video, from nearly one hundred years before the web. A film recorded in Edison’s office of boxing cats, which neatly ties together the history of a place that has become a bastion for thieves, Copyright infringement and other debauchery, via a motion picture, which Edison stole the patent for by murdering Louis Le Prince.
Hooray progress. Thanks, Al Gore.
“‘There have been complaints as well about him leaving sandwich crumbs behind, falling asleep during interviews, using an exorbitant amount of talc in the later rounds…'”
[family member who asked not to be named enters room]
Speaking of the Olympics, it would seem as though things are worse than the media would lead you to believe in Brazil. Take the Olympic Village for example. Granted, one doesn’t come to expect five-star accommodations in a third-world country, but the lack of reliable Wi-Fi (and en-suite plumbing… and a roof), but you really begin to see how bringing in Venezuelan decorators may have been a mistake.
On the bright side, however, it’s nice to see Motel 6 upping their game on the international stage, and hiring what appears to be at least one part-time maid for the duration of the event.
If you’ve ever abandoned all fear and simply wanted to know the thoughts that go through my head, here’s a sample from the “Television in BrianLand” File:
“Tonight on Miming Towns of the Old West, Marcel Montana. We’ll visit a place where the winds rip so violently through the main square that residents have evolved to walk at a near sixty-degree angle.”
[cut to scene of cowboys leaning against non-existent boxes while one pulls on an imaginary rope to lead an equally imaginary horse – VOICEOVER: “Yes, it’s never a dull day here in Marcel, sister city to Paris, France. Here we see Bose ‘Mr. Pockets’ Ketchum wrangling some lunch!”]
“We’ll visit the high-security prison [wide shot of three men “trapped” in an imaginary cube], and get to know a four-hundred pound local known only as ‘Tumbleweed.'”
Having gone well off of the beaten path again lately, I thought it would be nice to revisit the original theme of this blog for a bit, and look behind the scenes of some renderings. What do you say?
A peek at the process:
Starting with the tried-and-true box method to nail perspective and proportions, I sketch the essential shapes and components (taking time to design a wheel, too!), and then scan the sketch, and begin the heavy lifting in Illustrator. Around forty-nine layers in total, this one is relatively straightforward, with only minor custom changes, allowing for a little more time to play in the details.
No presets, meshes or brushes, just paths and pen tool. There’s a lot to be said for using the basic tools, and I find it to be a very Zen experience; it becomes the art of massaging your brain while working. It can get tedious, but the key is in finding a rhythm, wherein you can alternate between left and right brain, solving little design and engineering issues as you make everything look “right” or “cool.”
My goal is a smooth, clean piece which retains some of the raw lines, but with a heavy focus on getting the little stuff in all of the right places:
Speaking of playing in the details, lets’ take a peek at the hundreds of paths that sometimes need to be squeezed into a fraction of an inch with some custom ‘Cuda tail lamps. In this case, we were looking at creating the concept art to show the customer what ’71 Charger lamps would look like in his ’70 ‘Cuda (see here for more on that!):
From paths upon paths to a detailed illustration:
A behind-the-scenes look at the rendering for the project, working from a loose box guide to sketch, and then into Illustrator for around forty hours of pen tool work, this time strictly using the mouse as my hands weren’t cooperating:
One more piece for this installment, and a rendering that was a big challenge and a ton of fun at the same time, as it required creating something that didn’t yet exist, and finding a way to create a unique spin on the classic belly tank-based land speed car:
Working with just the basic plan, it was a matter of packaging everything neatly and orderly, and then making the aesthetic work. Starting with the tried-and-true box method, I git the perspective working in my favor, and worked to get the parts and pieces that my client wanted showing, and then built upon that foundation once the loos sketch was scanned and in Illustrator. The post work in Photoshop brings the whole thing to life, and it took lot of restraint to avoid losing the original hand-drawn feel. I think it worked out in the end: