So, I posted the MINI K.I.T.T. on the Maverick MINIs club forum, and one of the members kicked back this great tutorial on doing with Photoshop and a photo, would otherwise probably be easier and more appropriate in Illustrator. But for those of you interested in drawing vehicles but don’t want to switch apps, give this a look. At the very least, this Deviant Artist does good work!

http://www.deviantart.com/deviation/448 … _scale%3A5

And check out -donbenni’s gallery for more, including one of that ‘Cuda concept…

http://donbenni.deviantart.com/gallery/?

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Well, put those Tec-nines and hand grenades away, because we’re leaving the gritty world of Body Bags behind, and entering the cross-gendering, swordfighting, heavily-allegorical world of Revolutionary Girl Utena. The character for the jam this week is the enigmatic, mysterious Akio Ohtori.

Read about the series here:

http://en.wikipedia.org/wiki/Revolutionary_Girl_Utena

And read more about Akio here:

http://www.flowerstorm.net/disa/Gallery/anti-akio.html

http://akio.ohtori.nu/10_moviemanga.htm

http://www.animegalleries.net/album/393

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Related posts:

1. TRDL Tribute: Akio [Utena]
2. R3 Jam: Dr. Who
3. This Week Jam: Retro Girl (from Powers)

Well, I’m happy to report that the TRDL RSS Feed, promised since the TRDL 2.0 site launched last fall, is finally ready for primetime. For those of you who aren’t familiar with this technology, RSS (Real Simple Syndication) employs an XML file that is updated with new content on a regular basis. The client’s RSS Reader checks all RSS subscriptions on a set interval, and reports the new content directly to the client. Most major news sites and many tech and pop culture blogs are now employing this technology as a means of getting new content to the readers without requiring them to actually come to the site and look for it.

All you have to do is subscribe to the TRDL RSS Feed, which can be done by clicking the link on the TRDL Gateway page that looks like this:

And adding this subscription to your RSS Reader. I personally allow Firefox’s built-in Live Bookmarks function to be my RSS Reader, but you may also use an integrated component to your email client, or a standalone RSS reader application.

Every time I post updates to the TRDL illustration site, along with posting a note in the NEWS thread ands sending out a note in the email mailing list, I update the RSS Feed. So, those of you who are busy and only come by periodically will now be able to receive an automatic update when new content has been added.

Want an RSS Reader? Here are some recommended clients:

1. Firefox’s built-in Live Bookmarks: Just click an RSS Feed and it will auto-subscribe you and add the Feed’s dropdown to your bookmarks and bookmarks toolbar. Easy and Greazy

2. Sage: a well-made Firefox Extension as an alternate:
http://sage.mozdev.org/

3. Safari RSS: the official plug-in for Mac Safari users.
http://www.apple.com/macosx/features/safari/

4. Newsfire: the premiere newsreader for Mac OSX… endorsed by our own GetATTR!
http://www.newsfirerss.com/

5. Newsgator:
http://www.newsgator.com/home.aspx

6. RSS Reader:
http://www.rssreader.com/

7. Blogbot: an integrated tool for Outlook and Outlook Express.
http://www.blogbot.com/

OK, for the 3.33 of you that use RSS, maybe this will be convenient for you!
t

Follow this topic in the R3 Forum here!

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1. TRDL and R3 Syndication Now Live!
2. TRDL v2.0 and the Finit-e Graphic Serial are Live!
3. TRDL Blog is Live

OK, G.I. Joe fans… or fans of, uh, women…

This round, the R3 Designer Jam challenge: redesign Snake-Eyes from G.I. Joe… as a woman! You don’t just need to shift pleasure points around, but redesign Snake-Eyes’ look while you’re at it! Have fun with this one!

http://en.wikipedia.org/wiki/Snake-Eyes

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1. TRDL Tribute – Snake-Eyes [TRDL Redesign]
2. R3 Designer Jam: K.I.T.T. Challenge!
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I have resisted doing a proper tutorial for the TRDL method for illustration coloring, primarily because I don’t feel like my way of doing things is particularly sophisticated. I don’t use the common ‘channels’ method, and mine is borne more from a desire to enjoy what I’m doing, rather than efficiency. But when Joao came aboard TRDL, I put together some examples to describe how I get my consistent rendered result for all my TRDL brand illustrations, and thought some of you might be interested in taking a look, as well. Of course, this was intended as a style guide for Joao, so that our work would be consistent enough to be published side-by-side. He uses a slightly different, more lush rendering method that includes more fades and airbrushing than my anime-inspired ‘cell-shade’ technique, but I think we keep the style close enough that they work together.

Anyway, here we go! Grab a jalapeno martini and a prosciutto and melon spear, and let’s begin…

A couple of things to understand, right out of the gate:
- I color digitally the way I colored manually as a kid. I started using Macpaint back in the day (what, mid-80’s?) with a mouse, experimenting with doing all-digital illustration, influenced by, and using the same technology as, Mike Saenz’ Shatter series. A Mac, a mouse, and a lot of teen patience. Once I got my hands on Photoshop, my coloring improved, and by then I was scanning line art and rendering color only. It was a few years after that that I got my first old Wacom kit, and everything changed for me, as the Wacom, even back then, so much moreso approximated my pen stroke that it started to feel like hand-coloring. As a result, my method evolved from there in a manner I think influenced by my childhood joy of pen-coloring, more than the various efficiencies Photoshop enables artists to employ.
- I don’t like channels. I can’t explain it. I’ve tried the channels method several times, but I don’t take to it. I prefer layers, and find them easy to manage.
- I don’t employ automatic flatting tools. We have seen some great ways to quickly flat a drawing out there, from paintbucketing a duplicate line art layer below the inks, to using custom Photoshop Actions that auto-fill all closed areas. Personally, while I see great efficiencies to be gained in such methods, especially with full-page sequential art colors, I actually enjoy hand flatting and filling in the details, as you will see below. See item 1. It’s fun!

My basic methodology is:
-Scan line art
-Convert line art to layered, transparent working file
-Color under line art

Line Art Ready to Rumble

1. Scanning line art: I’ve been very intrigued by the methods some other, more accomplished artists than I have employed, scanning in grayscale and tweaking their work for the finest line weight detail imaginable. However, my results in this area of exploration haven’t yielded the same results. I’ve tried scanning inked work in grayscale and then pushing it to black and white using the Levels tools, but in the end, I still am something of a creature of habit when it comes to routine processes, and prefer to scan my line art in black and white bitmap. I scan to 600dpi. This is controversial to some, because the standard output resolution for print is 300dpi, so I’m essentially working at double the necessary resolution, taxing my processor and consuming copious quantities of scratch disk. Why would that robot do such a thing, you ask, nearly spilling your jalapeno martini in outrage? Very simply, I’ve done work that has, on occasion, wanted to be printed commercially very large. I had a single instance several years ago where I needed to take one of my pieces and blow it up to a large poster size. Based on the original size of the art, and at the 300dpi I worked at the time, it scaled poorly. So I decided, rather than rescan, edit and color for large format when needed, as scarce as that occurrence may be, I’d rather just take the resource hit and work large all the time. Why not, says self, and so it became my new habit. All of my work is done at 600dpi, then downscaled for print and web publishing. If I ever need it large, there it is. But for most purposes, scanning at 300 dpi is fine.
End result: a bitmap image of your inked line art at 300dpi, ready for processing.
Question: what about scanning pencils and mixed-media images? If that’s your bag, baby, then by all means, scan to grayscale.

UPDATE: In the last several months, i’ve actually been scanning to 600dpi GRAYSCALE after all. Your mileage may vary.

Layers and Actions!

2. Processing line art: Here’s where my method deviates from many popular channel-based methods. I color under my line art. To do so, I need my line art to be on a transparent layer that floats above my work area. I have created a Photoshop Action to accomplish this goal. The action merely converts the line art to grayscale and then RGB color, then cuts the line art to a new layer above the background layer, then grabs all the white, and deletes it, leaving black pixels on a floating Inks layer. It also creates the following layers below: Flat, Shade, and Highlight.
A complex drawing will have many more layers. If there are figures in front of other figures, or complex backgrounds, I create separate groups of rendering layers for each component, and use Photoshop’s Group command to collect them together as necessary. My Finit-e comic coloring method relies on this heavily, for a very simple reason: it allows me to globally change brightness and saturation of backgrounds vs. midground figures vs. foreground elements, in each panel, on each page, in order to tweak the finished product, which would be nearly head-bursting to do without all those layers pulled apart.
End result: a PSD file with a transparent Inks layer, and coloring sub-layers below it.
Ready to get to work? Refresh that beverage…

UPDATE: I have found increased success at tightning up the converted line art by DARKENING it. I wrote a simple action for this, but basically, make your line art layer active, and then send brightness to minimum and contrast to maximum.

Gross Flattery

3. Gross flatting: If one were to choose to use an auto-flatter, or paint-bucket their flatting, they would merely copy that Inks layer to create a duplicate below the primary Inks layer, and then either run that Action, or paint bucket those inks on the lower, duplicate layer. However, if your inks are complicated, your lines aren’t all neatly closed-loop, or, like me, you just want to do it yourself? Here’s where the fun begins.

Brush Tool Palette

I take the major areas to be flatted, push the brush to a fat pixel diameter, and fill in the loose, major areas with the appropriate colors at 25% zoom or so, working on the Flat layer. This creates a giant, blotchy colored mess, but it serves two purposes: it lets you get the bulk of the color down at once, without having to zoom around, and it allows you to see the major colors against each other, and make hue/saturation adjustments as necessary to get the color balance as you need it.
End result: major color areas have been loosely flatted. Ready for detail flatting.
Question: Why not grossly flat the minor color areas as well? I find the zooming in to do this, combined with the fact that I might change my mind on something after the primary flatting is complete, makes it more efficient for me to flat the primary areas completely first, then return to minor flat areas later.

Detail Flattery

4. Gross flats, detail: Now that the major flats have been blotched in, rather than proceed with minor flats, I like to fill in the detail edging on the major flat first, because it results in a good sense of how the piece will look, in terms of main colors. I zoom to somewhere around 50% to 100%, depending on the detail in the drawing (usually the former) drop my brush to about 25-30 pixels, and proceed to work my way around the perimeter of each flatted area, to fill in to the edge of the ink line. It should be notes that throughout this process, using a Wacom stylus is immeasurably helpful, as the input is gradated, allowing you to achieve very thin or very thick strokes, relative to your maximum brush size, as you work, and move from one to the other gradually as you stroke. It’s awesome. You mice users, get thee a Wacom. You don’t need an Intuos like I use: even the Graphire will do.
End result: the major flatted areas are now complete, with minor color areas remaining voids.

Minor Flattery

5. Minor Flats, gross and detail: Now, I go back to some zoom between my close-up work, and the macro zoom where I can see the whole thing. I always work in zoom percentages that Photoshop likes (25%, 50%, 100% 200% etc) because it scales other zoom percentages all over the place, and it’s distracting. So, here I flat in all the remaining colors, and then do the detail work to fill to the ink line.

Detail Flattery

Still working in Flat layer.
End result: a flatted image

Shadery

6. Shade: I used to always shade and highlight my pieces in the same layer as the colors, and I would choose each color uniquely. However, while I still do so for flesh and hair, most of my work now employs global Shade and Highlight layers, allowing me to work in the same values from area to area of the piece. It allows for much more productivity, and normalizes my pieces. There’s no question my previous method was more lush, but I’ve found that using a ‘blackwash’ as with my old miniature painting days, largely puts all elements of the drawing in the same place. So, moving to the Shade layer, I set the opacity to a baseline 40% or so, then start my shading.

Shade Layer Opacity

Most materials I shade with black, with certain colorways requiring that I switch to a custom, off-black or off-brown of a the same hue as the flat color. But for the purposes of example, assume in this exercise that the costume is done entirely with black as the Shade color. I don’t’ always use 40% but it’s a nice opacity that suits the light level I enjoy seeing in most of my straight-forward character drawings. Working on sequential art with backgrounds and light sources requires much more detailed shade and highlighting controls. You may also note that I don’t distinguish much between shade and shadow. This is an efficiency I experimented with some years back and discovered I liked the simplicity of keeping my shade and shadow colors the same, so they merge. Trained as an architect, I learned to render shade vs. illuminated faces of an object, then render shadow over both. But my method is simpler, and more stylized. I also rarely employ multiple gradations of color between shade and highlight, unless it’s a detailed piece that really wants it. I’m very comfortable with the ‘cell-shade’ look. More contrast between the three colors you ultimately see: Flat, Shade and Highlight.
End result: the flatted image is now shade/shadowed
Question: where’s the light source? I tend to avoid strong top-down task lighting in my character illustration because it creates more exaggerated shadows on the face. I do like to use a general light source above one shoulder or the other, so my shade/shadow pushes to a single direction. A common alternative, such as what Joao often does, is using a primary task light source, like I do, but also employing a general, non-specific illumination on the piece overall, allowing for greater punch in the three-dimensionality of the figure. Looks great, too!

Facery, Were it Visible Here

7. Skin and hair: a quick digression: I do all of the work on faces and hair in the primary Flat layer, so that I can very easily blend and move between base, shade and highlight color of the face at the same time. It saves time over them being on different layers. So at this stage, I’ll usually go in and do the skin and hair completely. This method follows the same technique I used to use on all coloring areas: pick a base color, use it for the flat, then choose a shade and highlight color each from the Color Picker, moving in a upper right to lower left direction in picking colors.

Base Flesh Color

Shade Flesh Color

Highlight Flesh Color
I save the eyes for last.

Highlightery

8. Highlights: Now that flats and shade/shadow are done, it’s time for highlights. For each color area you need to highlight, select the base color on the Flat layer with the eyedropper, then choose a color in the Color Picker to the upper left of the base color, as needed. Then apply it on the Highlight layer. It’s on a separate layer from the Flat so you can tweak it with opacity or Adjustment controls later as necessary.

[color=orange]9. Finishing details: You’re almost done! Most final details I find want to be on a layer above the Inks layer. I usually create unique layers for each one: I render the eyes on a unique layer, from scratch, using my inked eye strokes as a guide. I do any glows or energy effects on unique layers, using a combination of opacity changes and brush/spray opacity and flow adjustments. I often apply several built-up passes of the tool to get the effect I want. Lastly, when I’m ready to publish the image, I build the shadow of the figure, whether it’s against the negative space of my illustration publishing container, or in the background of a sequential panel.

Remember, if your image is to be printed, have your finish results save to 300dpi resolution, and for web publication, go to 72dpi. I like the Save for Web feature in Photoshop, but you can always use a tool like Iamgeready or similar to create your compressed image file. However you do it, you are making a Jpeg of GIF from your layered PDF, saving filespace and making it readable in a browser. I prefer to make Jpegs, but if your color work is simple, you can do GIF also.

So that’s it! I’ve simplified the process somewhat, using a fairly easy character model as an example. This is Flux of the Liberty Group, by the way, who you can see here!

Anyway, I hope you found this interesting, if at all informative. As you can see, my technique is pretty much what you would expect, as the product of vernacular experience: it’s a distilled way of getting the results I want they way I’ve learned to do it. There may be many other, more efficient methods available.

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2. Taskmaster’s Photoshop line art coloring tutorial
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I have a number of resources i’ve either scanned, cribbed from other sources or received one way or another. Where appropriate and not abusive of copyright, I’ll post them here for your use, my R3 Army…

Here’s one I especially like… I don’t even remember where I first saw it… its Wally Woods 22 Excellent Sequential Panels… shortcuts for helping create variety and flow when drawing scenes of, you know, dialog, instead of just action scenes. Ive found it invaluable in plotting out how to tell the story of Finit-e…

Follow this topic in the R3 Forum here!

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2. Q: How do ABSORPTION Powers work?
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I have posted Vlad’s How-to-Color tutorial on the TRDL FTP site, for those of you who’d like to download it and give it a whirl. He put a lot of work into it and i think it’s an excellent resource…

http://www.thirdraildesignlab.com/depot … _color.pdf

Follow this topic in the R3 Forum here!

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2. The TRDL Method: Thom’s Tutorial
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This was a piece I have been promising Jason for over a year, but finally had a moment to get it done. We’re doing a little promo swap, so he’s getting this TRDL illo for his pin-up book, and I’m getting something top secret from him which you won’t see for awhile, but will like when you do! Anyway, this piece showcases three of the characters from his book, the female contingent of the SuperReal team. I tried to follow his model sheets as close as possible, while still holding to my TRDL style, and it was a lot of fun. Those SR graphics on the pieces and the parts are a little tough to nail, so to speak, but I gave it the old post-college try. Check it!

:::

Some of you may already be familiar with Jason Martin’s SuperReal comic, having seen it on the Internets, or through his exposure on Newsarama, or his appearance at the cons. The premise is great: Reality TV manufacture meets superheroes. Where Todd Nuack’s Wildguard features real superheroes auditioning for a televised reality event in a fairly straight-forward manner, Jason’s book is edgier, funnier and certainly more cynical. Jason writes from obvious personal appreciation for the reality TV show as a concept that isn’t necessarily to be obsessed about or villaified… but the comic is more about the motivations of each of the members of the team who’ve been selected, and I have to say, between his staccato dialog, the creative, personal camera angles and pacing, and the vibe of the book’s stylized art, he deserves the positive accolades he’s been getting on SuperReal this far.

If you’re curious, I encourage you to check out his site:

http://www.superrealgraphics.com

And you can read the first issue free online:

http://www.superrealgraphics.com/online … splay.html

His blog’s great too… and hey, a little TRDL shout-out doesn’t hurt it, either!

http://www.superrealgraphics.com/2007/0 … inups.html

So check him out!

Patrick Neighly did on Newsarama:

http://forum.newsarama.com/showthread.php?t=16419

:::

You can see this illustration herein the TRDL Universe Gallery.

Follow this topic in the R3 Forum here!

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Fine Ancestor is a member of the Japanese government security detail, Covert Star, and one of the country’s first posthuman defenders.

Design and Origin: Thom Chiaramonte

:::

Fine Ancestor

Name: Takeshi Motoko
Affiliation: Covert Star

Attributes:

Melee: 55
Reflex: 30
Muscle: 20
Vigor: 30
Acumen: 30
Observation: 25
Will: 25

Life: 135
Influence: 80

Abilities:

Cellular Control: Fine Ancestor has the posthuman latent ability to agitate a target’s body at the cellular level, changing the rate of cellular decay in the target area. He enjoys this Ability with an Intensity of 40. This attack may occur in two concurrent ways:

1. Aura: Fine Ancestor may generate an area effect attack within close range, which cause all cellular activity in targets within range to be affected by a general level of altered cellular activity. This can be in the form of hyper-acceleration, causing disorientation and exhaustion, or optimization, causing a sense of renewed vigor and alertness. He cannot simultaneously cause positive and negative affects in different target areas, and cannot focus the aura on specific individuals within the target area. The Aura causes -1CS to all Attributes to those within 2m range (or +1CS to all Attributes for friends in range) for 1d10 turns.

2. Fists of Memory: Fine Ancestor can cause significantly greater changes to a target’s cellular activity through physical contact. Again, as with his aura, this application of his ability can take positive or negative forms. When applied positively, he can cause moderate, permanent healing by agitating the target’s immune system. When applied negatively, he can cause extremely accelerated cellular activity and decay at the locations of his strikes, in the form of necrotic activity. The physical result of these strikes is the appearance of necrotic tissue and associated reduced mobility and function in kind. When desired, Fine Ancestor may make strategic strikes against sensitive areas of the target’s body, causing greater harm. Fists of memory strikes cause blunt attack damage [20 IV], ignoring Armor (and natural physiological resistance to injury); the victim must make a Vigor Save or suffer additional damage [30 IV] from cellular decay, and if so, must make a Will Save or rout in fear.

Origin:

Takeshi Motoko was the first graduate of Japan’s Covert Star initiative, a secretive process involving not only genetic manipulation and bio-engineering, but chemical, radiation and extreme environmental courses, all under the direction of Doctor Go Kuniyoshi, who developed the processes covertly on behalf of the Japanese government. However, Motoko’s resulting form was initially considered aberrant to the program leads after his treatments were complete, leading to a certain degree of superstition and concern about Kuniyoshi’s connections to the mysterious world of post-Shinto mysticism that had spread across the country in pace with the rise of mysticism in mainland China. As a result, the program began to focus on bio-mechanical and cybernetic enhancements, with a focus on nano-bot integration. Motoko remained one of the few early graduates of the Covert Star initiative to be largely synthetics-free, and had perception of his posthuman abilities not changed, he would have been likely quietly assassinated in an effort to course-correct the program according to the government’s directives.

A sinple, quiet man, Motoko had been a reliable, efficient member of the Tokro law enforcement Special Crimes division, specializing in yakuza-related crime. As a result of lengthy periods undercover, he began to resemble the yakuza enforcer role in which he hid, not only physically, but emotionally. He had grown distant and disgruntled with his role with the police, and seemed equally repulsed by the criminal underworld in which he lurked, but also attracted to the rise of mysticism in yakuza culture taking hold. On the recommendation of division psychologists, Motoko was pulled from the field and given a role training young cadets in the use of hand-to-hand combat in field operations. Being an able martial artist and lithe gymnast, Motoko was one of the department’s most impressive physical athletes, and his role as a teacher seemed to change his troubled mood. When the Covert Star initiative scouts began studying government employees for candidacy alignment, Motoko’s name was quickly at the top of the list, and he was asked to participate in a personalized missive from the Assistant Prime Minister, which was a rare and compelling honor for a man of Motoko’s social rank. He agreed.

Though the process was intended by Doctor Kuniyoshi to enhance Motoko’s personal abilities through an intense cellular mutation process, the results of the treatment shocked the technicians, and sent ripples through the secret facility. While Motoko had entered the program as a lithe 24 year old man in his physical prime, he emerged from the salient enzyme wraps as what appeared to be a haggard man in his late 40s, covered from head to toe in lacerations and bruising, and exhibiting what appeared to be substantial necrotic tissue. Additionally, he appeared to have been driven insane, rambling wildly about time, isolation, being imprisoned and so on. He appeared to respond to questions confirming his identity as Takeshi Motoko, but rumors immediately spread throughout the staff that Dr. Kuniyoshi’s process had caused Motoko’s spirit to possess the deceased body of an ancient warrior. After being sealed in a containment hold for quarantine while the future of the program was under sudden serious question, Motoko began training, revitalizing his nearly crippled form, and within weeks had restored much of his former physique, despite the presence of gangrenous wounds that refused to heal, and an unsettling flat pallor to his eyes, which had grown dark and enflamed, his white hair brittle and coarse.

There was no question that Motoko had survived the process, and that his physical competency, and endurance, was back at peak levels, despite the obvious effects on his physical form. He passed all psychological tests, responding to questions about what he had experienced during the process with silence. Though the program had shifted gears to a more technology based scheme of posthuman development, with Surujin being the first of her type to be successfully graduated in the months following Motoko’s treatments, the Assistant Prime Minister took an interest in the program’s pioneer graduate, and after a private conversation with Motoko was arranged, directed the Covert Star leadership to grant the man full activation status as the first Covert Star operative. Subsequent reports secretly filed with the program leads suggested that close analysis of Motoko’s necrotic tissue, as well as study of his posthuman abilities, led them to believe that his body had been somehow disconnected from the normal spacetime relationship with their reality, trapped within the containment chamber, unable to move yet suffering microscopic chafing and cellular agitation at a rate nearly equal to his posthuman ability to self-repair his cellular makeup, all the while in a state of subliminal consciousness. It was impossible to determine how long in relative time Motoko had been trapped and slowly vibrated apart, but with regular psychological review, it was decided that the arduous, emotionally devastating process had not made any serious, lasting impressions on the man, and that he could perform his role without issue.

He took the name Fine Ancestor, on behalf of the popular opinion, among program staff, that he wore the undead form of an ancient, powerful figure from Japan’s past, somehow shunted forward in time. Despite this seemingly negative portrayal, he was a patient man, and soon all within the program had warmed to his otherwise unpleasant appearance, and he became a popular figure within the secret walls of the Covert Star facilities. He would eventually receive similar popularity, reverence and respect among the Japanese population when the Covert Star initiative would go public, and his tragic role in events to come would cement his name in Japanese history forever.

:::

You can see this illustration herein the TRDL Universe Gallery.

Follow this topic in the R3 Forum here!

Related posts:

1. TRDL Character Factory, No. 06: Surujin
2. TRDL Character Factory, No. 11: Crimson Dragons
3. TRDL Character Factory, No. 52: Temper

Breaking the rules a little bit this week…

This week’s This Week Jam is in honor of my man Joao, who’s celebrating not only the recent birth of his firstborn son, but his birthday today as well!

One of the earliest comic connections Joao and I had, when comparing notes on comic creators and projects we loved, was Jason Pearson and his book Body Bags. Joao had sent me one of the one-shots in PDF format that I never had, and re-sparked my enjoyment of the book, so I always associate him with the series.

If you haven’t read it, it’s worth chasing down. Some of Pearson’s best work was on his pet project, and it’s a predecessor to other 12 Gauge projects like Gun Candy, The Ride, etc. I’m figuring that most of you will be more interested in Panda than her partner. But either way, plenty of great design work to go around.

Have fun with it!

t

Follow this topic in the R3 Forum here!

Related posts:

1. TRDL Tribute – Body Bags
2. TRDL Tribute – Panda from Body Bags [TRDL Redesign]
3. This Week Jam: Retro Girl (from Powers)

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