Recently I have been working with Positively Cleveland, the visitor and traveler’s bureau of Cleveland, Ohio on some illustration work for their promotional and marketing materials. The publications in which these illustrations were used went on to win awards in the Ohio Association of Convention and Visitor Bureau’s 2009 “Middy” awards.

In addition to an extensive series of custom illustrated avatar portraits which I created for them, I also created a stylized illustration of a “greatest hits” Cleveland skyline. Additionally some general spot illustrations were also created. These were all used in the award-winning Positively Cleveland 2009 Annual Report. The award was received in ‘Division 4-E – Annual Report’.

Positively Cleveland was also honored with another award in ‘Division 4-D Travel Guide’ for their 2009-2010 Cleveland Plus Destination Planning Guide. For this publication, I created illustrated scenes of prominent Cleveland, Ohio landmarks and destination areas. These were incorporated into layouts which included photographic people. I was only involved on the illustration side of things. My illustrations were featured on the cover, the inside front cover, as well as throughout the guide for each major section intro.

Tight deadline, detailed architectural illustrations and a full workload at the time made this a very hectic project, but in the end everything came out great and learning that the client also received awards made the entire process more than worth it. Samantha and Mark over at Positively Cleveland were nothing less than stellar to work with on this as well. And a special thanks to my illustrator friend Scott Thigpen, who helped me out on this project to meet the deadline.

Below are the specific pages from the Destination Guide featuring my illustration work. The client was looking for very loose, abstract depictions of each location.

by George Coghill -
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Positively Cleveland OACVB Awards is a post from: Cartooning & Illustration Blog: Coghillustration

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What an awesome project to work on—creating cartoon Frankenstein artwork for a custom hot rod 1971 Barracuda. This project started life when Murray Pfaff of Pfaff Designs contacted me to create the artwork as part of a custom hot rod design he was working on for a client.

The process started off—as usual—with an initial rough sketch to make sure the client and I were on the same page. Of course, we had a phone conversation before this to make sure we both were on the same page as far as the artwork.

The spark plug “Frankenstein’s Lab” lighting towers needed to be included, in addition to the main Frankie art. At this stage I just wanted to get sketches for all the elements to make sure the look was headed in the right direction. Client’s response: Frank looked too “Fred Flinstone-y”! And I had to agree. He wanted something more aggressive, so I literally went back to the drawing board working on some variations.

I was kind of stoked, as usually the characters I develop are more cartoony and I like to work in a more “realistic” style when I have the chance. I thought the followup Frankenstein head sketch came out great:

Verdict? A bit too aggressive. Back to the drawing board.

This guy (above) was more for style than the actual look. Needless to say the client wasn’t keen on this one either. The next one was getting closer:

Besides not being right for the project, this sketch has some general issues with physiology and proportion, despite this being a rough sketch. I was struggling with the “snarl”. And the hands are looking odd. But the good thing about this sketch is that it led to what became the final:

We toyed with the idea of how to play on the “neck bolts” of Frankenstein, and thought of this idea of him cranking on them with a big ol’ wrench as I was working on the sketches. Client loved it and we moved to the final.

One of the limitations of the art was that it needed to be all in gray tones, and very few (2-4 maximum). Also, the final art was intended to be very subtle, so I needed to choose gray tones that stood out enough from each other, but not too much.

After creating the vector art version, I started working on variations for the gray tones with all the elements. We went through a few variations before settling on this as the best solution:

The Mopar logo needed to be included, and I added lines as a graphic element. It all makes much more sense when you see the car template overlay in conjunction with the actual artwork:

And here is a version with the final Frankenstein art cropped to the template. I made the transparent areas a light magenta to help them read better visually:

The artwork was transferred to the actual vehicle as follows: the top of the car was sprayed the lightest color – silver. Then they printed the artwork on adhesive vinyl with cuts along all of the color break edges. That was applied to the top of the car. Each of the remaining two shades were pulled away and sprayed, then remasked until the shades were done.

Murray sent me some build photos of the actual car, which I’m sharing below:

(The last photo is a detail of the hubcaps)

This was an awesome project to work on. Murray Pfaff was great to work with, and we had a lot of fun creating the Frankenstein artwork. Seeing my art on the final vehicle is a blast! I’d love to work again with Pfaff or any other custom hot rod designer looking to incorporate some killer illustration work in a hot rod design. Drop me a line if you’re interested!

Mopar Collector’s Guide Magazine featured FrankenCuda in the September 2009 issue. Here are the relevant pages:

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A set of flying disc sport icons I created for Flying Disc Magazine. These icons were created as part of the redesign of Flying Disc Magazine (of which I was also the designer). The client wanted to expand the magazine further out from the original focus on disc golf to include additional flying disc sports. We needed to figure out a way to indicate that different magazine articles and columns were associated with the different sports.

I am sure most readers will not be aware of most disc sports outside of Ultimate, Freestyle and perhaps Dog Disc, so a little background…

Disc golf is probably the most known of the ‘unknown’ disc sports. If you aren’t familiar, it’s played similar to ball golf, but with specialized flying discs or “Frisbees”. The holes are steel baskets with chains to deaden the disc flight and let it drop into the basket.

Guts is a type of “kill the man” game, with players lined up in opposing rows, and they fight for the disc.

Freestyle is well-known, basically the “fancy tricks” players. Ultimate is basically “Frisbee football”, and Dog Disc is like Freestyle, but incorporating dogs.

Initially, the client wanted small characters or something similar to accomplish this, but at such a small scale I recommended against it. Disc golf was a no-brainer, with the basket being such a recognizable icon in itself. Dog disc also seemed pretty self explanatory. I started working on some ideas in Illustrator:

Two problems with these icons: first, they are not unified at all. Besides the circle enclosing them, but that is not going to cut it. Second, I started realizing that they did not give any impression of the sports themselves. In one way, an insider might get the idea of what each icon stood for, but the icons themselves shouldn’t need a translator. To translate (from left to right): Ultimate, Guts, Disc Golf, Dog Disc. The last issue was not having a clue how to represent “freestyle”. This approach was abandoned pretty quickly.

Next, I thought maybe I should give the client’s character-based icons a go:

I did work up sketches for these, but the finals aren’t too far from the sketch. I actually like these quite a bit, but they run into a new problem: these are going to be very difficult to discern, especially when placed in the magazine at a small enough size that they won’t be obnoxious. The tapering lines were going to get lost, and I knew it. I had to shelve these as well.

My new rule for the icons was that all had to incorporate a mid-air flying disc in the same spot in each icon. This would help make the distinction between each more clear, as it made the variation a bit familiar, but also drew your attention to the specific variation. This would also reinforce the concept of ‘disc sport’ in each icon.

Here’s the rough sketch I worked up to pitch the idea to the client:

For me, this was a ‘bingo’ moment. I knew these were “it”. I don’t actually recall the client’s first impression, but I can say that the finals based off of this concept were the ones we ended up using:

Disc golf got the green because you play on typically grassy courses. The red of the Guts icon was supposed to play off the aggressive “kill the man” nature of the sport. Freestyle is such a laid-back sort I though a sky blue worked well. Dog disc had to be dog brown. And for Ultimate, well the choices were slim and it sure wasn’t going to be pink…

In the end the client really liked how these came out, as did I. I think they accomplished everything they needed to in a clear, concise and stylish manner.

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Disc Sport Icon Design is a post from: Cartooning & Illustration Blog: Coghillustration

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This sexy bail bondswoman cartoon character design was created for—you guessed it, a bail bondswoman. The client wanted a woman character design that was sexy, but not too sexy, and had to be professional-looking as well.

After working on some initial rough sketches, I realized we needed a prop to make her stand out as a bail bond agent. I thought a big chunky ring of skeleton keys would be perfect to get the idea across that she had the keys to freedom in her hands.

A very rough sketch was worked up with pencil on paper, then scanned into Photoshop for cleanup:

The cleaned up sketch in Photoshop, with some rough tone added:

Note the cleaned up sketch is considerably different that the original rough sketch. Typically for my rough sketches I work very fast and loose. I want to get the overall feel of the character and the general proportions down. When the sketch is brought into Photoshop, I have much more flexibility to tweak, resize elements and the like. Sometimes the intermediate sketch stages are lost due to erasing, but lately I have been saving all the phases of the sketch stage in the Photoshop file so I have a reference for later.

While the client was pleased in general, she asked to see a more leggy, sexy version of the character. I worked up a rough version to give her a quick idea of how it might look:

I think this version has some potential (but would definitely get some reworking if we were to have gone with this approach for the final character; the head needs some serious fixing). The client decided that this was a bit more sexy than she wanted, and approved the earlier rough sketch.

With the client’s OK, I went back to the initial rough sketch and cleaned everything up to prep it for use as a template in Adobe Illustrator, where I create the final color artwork.

The woman character herself didn’t change much from the rough sketch, but you’ll note the keys got some more attention. I wanted those to really be dynamic, and also enlarged them a bit so they were a bit more prominent. A careful observer will see that I pulled the keys & hand from the unused sketch, then enlarged them for use in this final sketch.

This final sketch was approved by the client and ready for the vector art stage. The final sketch was placed into Adobe Illustrator as a template, and used to create the hand-created vector art paths. Once the color was complete, hair highlights and overall shading was added.

We went through a few small rounds of color tweaks, most notably n the hair color. The original had an orange that was less red than the final seen here.

Great project, great client and I was very pleased with the final artwork for the cartoon character.

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This cartoon character of a Young Marine was created for a custom t-shirt design for a regional Young Marines troop. I was contacted by the troop leader to create an original character that not only represented an iconic Young Marine, but also had some humor to it.

The client had some specifics that had to be in the artwork—mainly the hat, the uniform and the insignias. With the word “Marines” firmly planted in my mind, I began to work on some rough sketches, the best of which I scanned into Photoshop to begin the refinement process.

Above is my initial rough sketch sent to the client for feedback. Usually at this stage I like to get some dialog started before I start sketching too much, to make sure I am on the same page as the client. While the client liked the overall direction of the artwork—particularly the hat covering the eyes, he felt it might be a bit too old of a character. The young men in the Young Marines are usually around 12 to 14 years old.

I had envisioned more of the “ideal” Young Marine that perhaps the guys in the troop saw themselves as, but the client rightly wanted to see a younger-looking version of the character.

My next sketch (above) was an awkward reworking of the original body with a new, younger-looking face. We also started to emphasize the ears more in this version. Again, the client thought this was better, but still not what he had in mind. we went through a few more variations, but I still was not “getting” the look.

It began to become clear to me that I was fixated on the initial body I had sketched. Going back over some photos of the actual kids in the client’s troop, and clearing my mind as best I could of the existing sketches, I was able very quickly to work up the following all-new character sketch:

Keep in mind that at this stage, the client was OK with one of the earlier variations I had created. The problem was that I was not satisfied that I had created the right character for this project. The character sketch above was something I went back to work on after getting an OK from a different sketch. However, once I showed this concept he immediately saw what I did and knew this was the guy.

What I think made this version successful was going back to the source photos as opposed to my earlier sketches. Draw from life, or at least the photos.

With the general concept approved and agreed on, I went to work on the details and refinements:

Hat insignia was added, proportions tweaked and details to the uniform were added. I also got a crash course in salutes during this project. If you look closely at saluting hand in the initial rough sketch and compare it to this cleaned up sketch, you’ll see there are slight variations in the angle and positioning. Also the non-saluting hand was fixed to conform to the standards.

Sometimes clients feel sheepish about pointing out all these details, but from my perspective the details are what make the characters perfect. And who better to let me know details like this than the client, who knows their world far more intimately than I do.

With this sketch, the client approved to move to the final color art:

Being a screenprinted t-shirt design, we needed to keep the colors to as little as possible. Black and a flesh tone were unavoidable. I was as creative as possible with the chest ribbons to make it appear that there were more colors than there actually are, and also re-use the colors from the arm insignia. Since the insignias play such a distinctive role in the look of the uniform, the client insisted they be included. And with a camouflage uniform, I had to work with multiple colors there as well.

On a technical note, I created the camouflage by taking the fill color of the uniform, copying those vector objects to a new layer and then using those shapes as a clipping path. That way I could just freeform create the camouflage pattern shapes without having to worry about where they met the line art.

The final t-shirt design just had some basic text added per the client’s wishes.

All in all, a very fun project and a great client with a great sense of humor. He put up with all of my “civilian” lack of military knowledge with good humor. We were both very pleased with how the final Young Marine cartoon character came out.

by George Coghill -
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Young Marine T-Shirt Illustration is a post from: Cartooning & Illustration Blog: Coghillustration

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This t-shirt design was created for the 2009 Ohio Canal Corridor’s annual River Sweep event. The Ohio Canal Corridor exists to create a park system that follows the route of the historic Ohio Canal. River Sweep is an annual volunteer cleanup event, and part of the gift package that volunteers receive is a t-shirt. I have been working with the Ohio Canal Corridor for a few years now designing the -t-shirts.

The initial sketch started out in a much different direction, as seen below. I was thinking much more frog than Statue of Liberty, and the client had more Statue of Liberty in mind with some frog elements. The frog is the mascot of the River Sweep event, and the ongoing theme is to work a frog into various famous paintings such as the Mona Lisa and American Gothic (some past themes we created for the t-shirts).

Back to the drawing board, with a new rough sketch of the Statue of Liberty as the focus. The client also wanted to include elements of a burning river, a small poke at the history of the Cuyahoga River catching on fire some tears ago (it’s much better now).

The client approved this rough sketch, so I went to work creating the final line art sketch. I knew I wanted to go with a clean-line illustrated quality for this one, as opposed to a more cartoon-style approach. I felt it would read better as the Statue of Liberty if the illustration were more formal, allowing the frog element to work better. Below is the working sketch for the line art. Created using a Wacom graphics tablet and Adobe Photoshop.

You can see we added a tire to swap out the tablet in Liberty’s arm—a small joke to reflect the “cleanup” aspect of River Sweep. Nice suggestion from the client.

At this point I left the frog face blank, as I wanted this to read as the Statue of Liberty first, and then match the style of the frog face to the existing line art.

Once the Statue’s line art was complete, I added the face of the frog. The face is a bit exaggerated as far as size, as I wanted it to read well.

This artwork was approved and I went to the vector art stage in Adobe Illustrator. Once all the line art was complete, I started working with the background elements. Being a screenprinted t-shirt design, one must take into account the limited number of colors available to print. In this case, we were looking to stay at around 4 or 5 colors.

My initial design is below.

The client loved the overall look of the design, but wanted more color. I experimented with variations on the sky, using the red and yellow already present in the flames.

The above approach was intended to minimize the impact of the red  and yellow so it didn’t take too much attention away from the focus of the frog/Statur of Liberty. As I expected, the client asked to see a red and yellow version with the expanding rays from the initial design.

Above is the revised design, with some tweaks to the rays; I increased the number of them, but we all agreed it was a bit busy. The red and yellow rays were definitely how the client wanted to proceed.

Above is the final design, the rays spaced out a bit more. I think in the end, considering the limited color palette we had to work with, that this final design worked out great.

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River Sweep 2009 T-Shirt Illustration is a post from: Cartooning & Illustration Blog: Coghillustration

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This was an interesting project. I was contracted to created a cartoon fish mascot character for a niche fishing tool—basically it’s an air bladder deflate gizmo for fishermen so they can sport fish deeper-sea fish and release the expanded air in the fish’s buoyancy air bladder when they arrive at the surface. this allows the fishermen to release the fish back into the water without permanently harming them.

After an initial phone discussion with the client, I was mailed the existing packaging (as I was to also re-design the packaging) as well as some rough sketches drawn by the client to give me an idea of the fish they wanted to see. Typically when clients do send rough drawings, it’s with the “it’s not the greatest” disclaimer, but I actually encourage clients to suck up the ego and send these over. The more information I have from a client about what they have envisioned for the project, the better.

I like to get as much of an understanding of not only what they want created, but also how they envision the final art.

I created a few rough sketch concepts for the fish character, but unfortunately only scanned in the one that I ended up using for the final. I would have liked to have shown the other rough concepts here. As you can see from the rough sketch (above), this guy made it pretty much intact to the final art.

I sent over this rough sketch to the client to make sure I was headed in the right direction and we were on the same page. Client replied with an enthusiastic “yes” and I moved on the clean up and finalize the sketch for the vector art.

Above you see the cleaned up artwork. As this character was intended to be worked into a full logo with an optional tagline, I placed the cleaned up sketch into Adobe Illustrator so I could work on some grayscale concepts. After many iterations, I settled on the version below and send the mockup over to the client for his OK. Again, he was very pleased with the look and approved everything so I could move to the vector art phase.

From there it was just a matter of creating the vector art for the fish and adding color to the existing logo elements already mocked up in Illustrator. As we were working on the color art for the logo, the client realized he needed to get new business cards designed to match the new look of his product. As he wanted to have these ASAP, I created the design of the business cards before completing the packaging design.

Fairly obviously, I went with a blue theme for the design work—it compliments the bluish-green of the fish character nicely, and of course conveys the concept of water/sea/ocean. A slightly alternate of the logo was used for the biz cards—no tagline, and no background oval. I wanted the product name and the fish character to have a floating feel on the card over the dark blue bottom border.

The business cards were designed in Adobe InDesign CS4.

Next, the packaging design. The product very much resembles a ball-point pen, and the packaging is a poly bag with a 2-sided printed insert. A folded “hangtag” (not sure if that is the correct term) would then be stapled over the top opening of the poly bag once the insert and device were inserted.

For reference, I have included the original packaging to compare the re-design to what the client had before:

A few things I made sure to tweak were the emphasis on the “Catch & Release” phrase alongside the left-hand side of the packaging. This was important to the client and it was lost in the original packaging. Also, the choice of background imagery in the original was far too distracting for the text overlaid upon it; this was simplified to a graphical representation of waves to let the text speak. I also suggested the addition of the initial text “Save a fish’s life!” since this was what the product does, and was a sort of call to action to the potential customer. I wanted to sum up what the somewhat lengthy description was trying to get across in as basic and short a phrase as possible.

For the detailed instructions on the back, in general the approach was to make the two methods visually distinct, and also clean up the raggedy centered text with justified paragraphs as well as indenting the text from the numbered steps again for more visual clarity. The superfluous boxes behind the images were eliminated—again to give an open, floating feel to the design.

The packaging was aslo design using Adobe InDesign CS4.

The client couldn’t have been more pleased with the final art and design for the entire project, and I too was very satisfied with the final result.

by George Coghill -
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Bends Mender is a post from: Cartooning & Illustration Blog: Coghillustration

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This project was a blast to work on—very cool client and a fun theme How can you beat drawing a surfer dude holding a gyro/souvlaki while surfing a giant wave in front of a Greek temple?

This project came about after the client had commissioned a previous artist to illustrate the logo for “Surfin’ Souvlaki”, which was the client’s new restaurant. The results were less than satisfactory, and after finding me he knew I was the right illustrator for the job.

The final artwork was intended for use not only as the restaurant logo, but also for use on the sign on the front of the store. As the client had already purchased a large sheet of diamond-shaped steel, I needed to work up a the illustration to fit within this shape.

This was one of those projects where I envisioned the artwork pretty much right off the bat. I worked up a rough sketch and then fine tuned the character in a bit more detail as I wanted to flesh him out a bit more when presenting to the client:

The client loved the sketch, and had a few slight modifications. Overall it was good enough to work up the background details and to start fine-tuning the character art:

The wave was kind of a pain in the neck to get just right. the rough sketches seemed as if they would just draw themselves, but when I got into finalized them I found them very difficult to get the look I wanted.

After getting some feedback from the client, he mentioned that he would prefer a Japanese-style wave, which ended up being the right way to go and ended up as the final:

Interestingly, one of the toughest things on this project was getting the Greek “key” pattern down for the full storefront sign design. I ended up discovering this online Greek key pattern generator, which I was able to use to create the vector borders in Adobe Illustrator.

Once the final art was hand-created as vector art in Adobe Illustrator, the diamond-shaped frame was created and the illustration was masked. Some slight tweaking of the waves was necessary to make it fir in the final border.

Styled text was created again in Adobe Illustrator, using the Offset Path appearance feature to create the multi-outlined effect.

I really love how everything came together for the final art—the surfer character, the background, the overall sign design, even the gyro! The client was extremely happy with the final art as well.

by George Coghill -
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Surfin’ Souvlaki is a post from: Cartooning & Illustration Blog: Coghillustration

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This puma illustration was created as part of a rebranding campaign for a high school (the Perry Panthers). I was subcontracted by a designer to create the illustrated mascot portion of the project. The designer created the full logo and ancillary design work.

The school had been using puma artwork for their mascot that was not created by them, and therefore needed to have something original created. After initially attempting to create the illustration work himself, the designer eventually realized he needed an illustrator to create this portion of the project.

Initially the puma art was headed in a much different direction compared to the final art seen here. It had a full body, in a prowl stance coming towards the viewer. I attempted to rework the initial concepts created by the designer, but these were not received well by the end client.

After a few rounds of revisions, the designer and I realized we needed something original that was more reminiscent of the approach and style of the art the school had previously been using, with a more standard head-only design.

The final artwork came out great, and both the end client and the designer I worked with were as pleased with the final puma mascot character illustration as I am.

by George Coghill -
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Perry Pumas Mascot Illustration is a post from: Cartooning & Illustration Blog: Coghillustration

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This sketch was for a client that went MIA after we got started on the project. The theme was for a “USA” branded pinup style girl — the draped fabric was to be a United States flag.

I think the drapery was coming along nicely, but I know I was dreading making all the Stars & Stripes read realistically enough. Probably wouldn’t have been as hard as I imagined though.

She’s been sitting in my hard drive long enough and I liked how this was coming along so I thought I would share.

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“Liberty Girl” Cartoon Character Pinup Sketch is a post from: Cartooning & Illustration Blog: Coghillustration

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