#manuel kilger

[2ndaryprotocol]

‘Ofelias Bitte’ / ‘Guillermo Del Toro’

Artist: Manuel Kilger 🖤

[geekynerfherder]

Gallery1988 presents 'Mallrats', a group art exhibition featuring artwork inspired by the 1995 movie, directed by Kevin Smith.

Artwork from the show is available exclusively online through the Gallery1988 website.

[cineheroes]

Guillermo del Toro Tribute by Manuel Kilger

[characterdesignreferences]

Art by  Manuel Kilger

March’s Theme: #MushroomFighter

Presented by CDQ Magazine

Discover the artists of the Character Design Challenge community and the current Theme of the Month in our Facebook Group! And when you repost your design on our Patreon page, you can also win awesome prizes every month and choose the future themes!

RULES | WINNERS | MAGAZINE | BOOKS

[everythingstarstuff]

Don't fear the reaper Manuel Kilger

[fuckyeahillustrativeart]

„Guillermo Del Toro: In Service Of Monsters“

Illustration for a group artshow in Gallery1988 in tribute to the films of Guillermo Del Toro.

by Manuel Kilger www.manuelkilger.com

follow Manuel on tumblr!

[rodpupo7]

Reflection of the day: 28/03/22 - 31/03/22: Project Pictoplasma

This Monday, we had to show our characters to the professor, and show our progress so far.

My problem was that there wasn't a wide variety of techniques used in my characters, so I could improve that a little bit. So I was given an idea to take some of my drawings and mix them with photography. It could give a different air to what I was doing, and it could give another contrast. I took one of the drawings I had done in Procreate of a lava giant, with his feet burning, and mixed it with a background of a volcano in a river of lava. The mix was interesting, because it gave that tone of humor that I wanted to bring to my characters, in addition to using something different.

I posted as soon as I was done on Pictofolio, and I was more relieved to at least have something different on my page.

Soon after it was suggested that I try to work on an animated gif for one of my characters.

I'm not used to making animations or gifs, so it was a mystery for me to be able to put together a gif in Photoshop, where I spent a lot of time trying to figure out how I was going to make my character move. I had to ask the teacher for help to see if he could shed some light on this mystery, and he gave me some tips on how to make a more simplified animation, maybe moving some pieces of rock on the character's shoulders, even moving his eyes.

A good idea and quick to cheer up. However, I was doing the animation and Photoshop suddenly closed, and I hadn't saved the file. I didn't have the courage to do it again, so I let it go, and went to do something that fits more with what I understand.

In this case, it was to do some researches, to show in the afternoon.

This semester I'm trying to vary my researches, not trying to get stuck only in illustrators who draw on digital or on paper. But other artists who make sculptures, animations, masks, even 3D characters. And that's what I presented in the afternoon to the teacher. References such as; El Grand Chamaco, Kami Goertz, Tanda and Manuel Kilger.

They all create their characters differently, and I always try to utilize something they've done in their work so it can open a new window for me.

On Tuesday, I continued to work on a character that I've been working on for a few days in the 3d software Blender. As we had a Blender workshop last week, I wanted to make a different character with a technique I'm not used to. Blender is a very complex software, full of tools for modeling objects, and it was during these last few days that I started to understand how the software worked.

My character is a giant robot that I had created in a brainstrom a few weeks ago, and I didn't want to stop using it. But I didn't know what technique I could use to create it, and I thought the blender was perfect, because I could put a metal texture and build it piece by piece.

What frustrates me in all this, is because I have little experience in Blender, the process of building the character is very slow, because I need to review Luis' classes and look for more videos on the subject, so that I can get a result at least satisfactory.

On Wednesday, little changed, because I continued to work on Blender, in order to try to finish my character, so that on Thursday I can show the teacher what I'm doing.

My intention was in addition, to put a tiny robot in one of the robot's hands, so that it could give the appearance of how giant it is, so this character would make sense within the universe I'm building, since they are giants. I'm almost done with the robot, I just need to put a rusty metal texture that I found on the internet and also improve the lighting of the scenario I built, and then the character will be finished.

Thursday was an unusual day, because I wasn't feeling very well to go to class, but I wanted to go anyway, so I could show what I was doing.

The purpose of the class was to post several of our works on Pictofolio, no matter if they were very good or not, we simply had to post them.

It was a little difficult for me to choose what I could post, because I didn't think anything was good enough to go on Pictofolio. So I posted some drawings that didn't necessarily have some kind of connection to the universe I had created, but that seemed to be well done.

I hadn't been able to finish the robot, so I couldn't even post it, and I'll try to finish it over the weekend and post it.

I wasn't feeling very well, so I wasn't able to concentrate properly in class, and there came a point when I couldn't take it anymore, and I asked to go away and rest.

The day didn't go the way I had planned, but at least I'm almost done with my digital character and then I can get on with other things.

[rodpupo6]

Project: Pictoplasma/Pictofolio

Pictofolio References:

Research El Grand Chamaco

El Grand Chamaco was born in 1982 in Los Ramones, a municipality in the state of Nuevo León (Mexico).

Since a young age, he likes to draw , at his first years around his house, always mentioning that he quite enjoyed drawing character with insanity aspect, with long arms, long legs and short head, trying to deform as much was possible. But he also mentions, that he always tried to evoque the Latin culture in his projects, because he was raised on a very patriotic Mexican family.

It took a long time and quite a few frustrations before he recognized his style and maximized it thanks to the arrival of internet in his town.

His characters are colorful and very different. Most are inspired by the Mexican folklore, but he also does; giants, dwarfs, pirates, funny creatures, etc.

As he is a character designer by nature, he make this characters with 3D tools, allowing him to experiment shapes, colors, textures, inspired by popular culture and his own imagination.

A great importance of Grand Chamaco for the Pictoplasma project, is mainly the exaggeration that he creates his characters using 3d software. I would like to create characters in different ways, not just with the traditional use of 3d drawing, but try to mix other techniques, however challenging they are. He manages to put a charisma in his characters, and even a characteristic style, with characters made in a more childlike way, but it doesn’t mean it is meant for children.

Manuel Kilger

Is an illustrator originally from Bavaria, Germany. He works as a freelance illustrator and as a character designer. Also working in the areas of editorial, advertising, film and television.

When he was a child, he loved to draw, and was heavily inspired by comics, books and tv series.

Cartoons like: Ren and Stimpy, Rocko’s Modern Life, Hey Arnold, Batman the Animated Series, was a big influence on him, especially concerning style and character design. Also he is a big fan of Guilhermo del Toro cinema, always praising his magical and scary creatures that del Toro creates in his movies, and also his mature storytelling, that few directors dare to go.

In a interview, he discussed that he like to brake the traditional way of storytelling of drawing. That he finds quite annoying the typical superhero stories, the characters that are either good or evil. He like multilayered characters, not either black or white, but rather ‘grey’.

His work is characterized by his great imagination and attention to detail. Always giving an ironic and funny touch on his characters. He uses a very vibrant color palette, and always chooses to make his characters as exaggerated as possible, going for a more cartoonish And all of his works are done on digital platforms such as Photoshop and Procreate. Where he has a variety of tools to use, create different textures on his characters.

What's interesting about Kilger for me is that he really tries to move away from the traditionalism of illustration. He understands that drawing is not his most important tool, it is the content he can put into them. Making extremely creative drawing but always with some kind of message behind. In addition to always working with a good humor.

I believe I want to bring something different to the Pictoplasma project, with a more comical and exaggerated style, as well as trying to make my characters very different from one another, with different shapes and sizes, different temperaments, and different colors.

Now at days, Kilger works for clients such as Cartoon Network, Nickelodeon, Amazon, Sony. Also working with children’s books and game companies.

Tanda

She is an American artist, specializing in illustration and animation. His style is mainly around extremely cartoonish characters, with comical expressions. She has a keen interest in showing what her characters are feeling, so she always highlights her eyes as if they were bigger than her body.

But Tanda goes beyond analog and digital drawing, she is also an enthusiast in making masks of her characters, even plush dolls, made in the most professional way possible.

She was born in the city of San Francisco, California, where since he was a child he had a great interest in drawing colorful creatures with his colored pencils, in addition to the cartoons he watches, and was always interested in the way they moved.

As her interest in drawing and animation grew, he still persisted, certain that her career would be guided by illustration.

She majored in illustration at age 25 at the Academy of Arts University of San Francisco, specializing in character design and animation.

Her influences are closely linked to pop culture, such as Japanese Mangas like Akira from Katsuhiro Otomo and animated tv shows like SpongeBob, Invader Zim and Ren and Stimpy, which these cartoons have an exaggeration in their facial expressions and bodies, even a touch of humor and surrealism in their ideas.

In a certain interviews she says that it was very difficult to find the style that she connected the most, because she didn't want to do something that was completely realistic because she thinks that there is no such creativity in doing something that imitates reality, always opting for exaggeration.

Humor is an intrinsic part of her work, something I'm even trying to bring into my characters. Because I think I can also make characters with a monstrous aspect, but that are not taken seriously, wanting to do something light and humorous, like Tanda does.

Something I admire in his work is the variety of techniques he uses.

In this work I would like to improve my techniques using different materials, so I can get out of my comfort zone, and something she does, are masks with different materials, something I haven't had the chance to do yet and maybe I'll make a mask of one of my characters, using papier-mâché and fabrics.

In addition to the 3d software itself, where she can build her characters using Blender, Maya and Cinema 4d, to make her characters in a more elaborate way.

Despite being a recent artist, she has an extensive portfolio, with different characters, with different techniques both analog and digital, and a boundless creativity when it comes to creating her own worlds.

Other References:

 Sergio Aragonés

The Spanish/Mexican comic book author and artist best known for his contributions to Mad magazine and the creation of the character Groo the Wanderer ( a parody of Conan the Barbarian). Among his peers and fans, Aragonés is considered by many to be “the fastest cartoonist in the world���.

Born in Spain, in the province of Castellon. Due to the Spanish Civil war, he moved with his family to Mexico. At school, he discovers his vocation by drawing to amuse his friends already in the third grade, and soon begins to contribute to school newspapers. At the age 17, he began his professional career contributing to Mexican publications.

He arrived in New York in 1962, and he struggled with selling his work to the newspapers.

He showed his cartoons around, but no one was interested in syndicating his wordless comedy comics.

Finally, one editor, who wasn’t buying any of Sergio’s cartoons either, suggested that he should take his work to Mad.

The secret to being so successful with the editor of Mad was that his humor was something that spoke a lot to people's daily lives. Something that Aragonés insisted on putting into his work, not something political, as many newspaper or magazine cartoons were used to at the time, but something to identify with.

Politics or deeply held convictions are of little importance in Sergios’s comedy because his comedy is the human comedy.

In 1982 Aragonés created his best known and funniest character, which was Groo the Wanderer. A joke with the fantasy characters. He wanders aimlessly looking for work, fights and melted cheese, always accompanied by his faithful dog Ruferto. And fighting against sorcerers, dragons, witches, and entire armies, plus, his own stupidity.

Aragonés is an artist I've admired for years, with his totally cartoonish style, with his characters with giant noses and eyes leaning against each other.

What is important to me in this work is mainly this exaggeration that he does with the characters making them have very funny expressions, and a totally exaggerated drawing without worrying about reality.

In addition to Groo himself who lives in a classic fantasy world, something that I also want to try to work on, to make anatomically exaggerated characters in a fantasy world that is not taken seriously.

Genndy Tartakovsky

Is a famous animator, director, storyboarder and illustrator, from Russia that migrated to the United States with his family, when he was very young.

He is best known as the creator of several animated series on Cartoon Network and Adult Swim, including Dexter Laboratory, Samurai Jack, Star Wars: Clone Wars, Sym-Bionic Titan, and Primal. His first feature film, Hotel Transylvania, was released in 2011.

Tartakovski comes from Moscow, he was born into a Jewish family. The Tartakovski family moved to the USA when Genndy was 7 years old. Previously, however, they lived for sometime in Italy, which aroused the young artist’s interest in art.

Later, after coming to the United States, he was greatly influenced by American Comics, pop culture, and also Japanese anime.

At the age 16, he assigned to an animation course. Thanks to this, he started studying  animation at college Columbia in Chicago. He worked hard for his success, but the effects were noticed as early as 1991 when he created his first three minute animated film. During this period, there was also the place that he created an ideia for the figure of a kid scientist (Dexter’s Laboratory).

His big influences in the animation field, were Bob Clampett, Tex Avery and Chuck Jones. The physicality of Bugs Bunny were an inspiration to projects like Clone Wars and Samurai Jack, incorporating similar movements into his characters.

One of Tartakovsky most distinct parts is his art style, which he goes to the minimalist style. In Samurai Jack for example, he uses this simple art style, with very few details on his characters and simpler colour use. But all these pieces add up to create an image to show the use  of emotion and meaning.

Many of his shows also relies heavily on long, silent sequences. Often the “camera” will spend minutes following the character as he walks.

His most recent series "Primal", where we follow a caveman named “Spear”, and his tyrannosaur partner "Fang", is perhaps one of his most perfect works of all time. Paying homage to the fantasy character Conan the Barbarian, and Frank Frazetta's paintings. Tartakovsky does what in my opinion is his best work, where he uses the silence factor as part of the narrative of the story, having a much more far-fetched and exaggerated style than Samurai Jack for example, and perhaps mixing the best in the world of fantasy, with an excess of violence, relationships between people and animals, and moments of tension.

Many of Tartakovsky's works try to be different from one another, with the different aim of paying homage to a particular genre, and with characters that have different sizes and shapes, and with completely different personalities. He is indeed a pioneer of Cartoon Network animation, and he is not going to stop anytime soon with his characters and fantastic worlds.

Hilda and the Midnight Giant by Luke Pearson

Hilda and the Midnight Giant is a stunning graphic novel, about a little girl with blue hair named Hilda, who is adventurous and very clever.

Manage to befriend with the most diverse creatures - from menacing trolls to enigmatic wooden men. But she’s having problems to be friends with the small and invisible elves, that live around her house. So she is going to do everything that is possible to defend her house.

The comic, uses a lot of the subtleties of Luke Pearson’s traits to move and instigate the reader, using as reference the Magical Realism and the Norse myths.

He goes full Hayo Miyazaki in this story with lots of fantastic creatures and quests with a little girl as a hero.

The story stars to unfold when, at Hilda’s house, several tiny letters begin to appear, asking the girl and the mother to move or they will suffer the consequences of a terrible invasion.

Parallel to this, another very strange event has been happening: for two nights, Hilda sees a giant creature looking at her house through her bedroom window.

The story is very interesting, and the drawings are enough for me. Because Luke Pearson has a more minimalist style, wanting to be something more colorful and cartoonish. Which is exactly what I try to do in my work. Try to make more drawings and even more cartoonish characters. The giants on the story are also very similar to what I am trying to do, with long skinny arms and tall body, and with fur all over its body.

The ideia of Hilda ‘ignoring’ the elves, just as the giants ignore humans it is very interesting, and something that really got my attention. Because  Pearson makes an analogy, of how humans treat smaller beings as if they were insignificant, and giants treating humans in exactly the same way, as if humans were merely insects.

Norse mythology is the intrinsic part of the story that involves magical creatures. Because the giants in Norse mythology can be seen as creatures that have a very strong relationship with their land, and can either do good things, and also bad things in some cases. Here in the case of Hilda, the giant is represented as a passionate and curious being, and also having a connection with his land.

With terrific body language and startling pages, a rich colour palette, and concepts of big and small people, Hilda is a great short novel.

Creating Stylized Characters

Creating Stylized Characters is a book filled with many tutorials, that people can learn, on how create characters from the basics.

The book is very interesting, because it teaches the basics of how your character's movement works, even teaching basic anatomy, to show how the arms and legs move along when the character is walking.

Each chapter discuss the creative process including research, shape design, facial expression, color theory and finalizing the drawing.

But something that the book mainly draws my attention, is the way it teaches to exaggerate the characters, and try to mold them to your liking. In my case, I'm trying to play a little with the proportions of the arms and legs, trying to make them look funnier, even unreal.

Because normally I try to work with my characters in a simpler way, without too much exaggeration. And as with Pictoplasma work, we have the opportunity to experiment and make characters without following an academic standard, I would like to make something as experimental as possible.

In addition to this exaggeration that I seek in the Pictoplasma project, the book also teaches some coloring techniques, on which colors that work together. Also showing how to make light, shadows, and midtones

The book is not exactly an exercise book, in fact it is more of a book of tips, on how you can improve certain details in your illustrations. All of the tips are incredibly practical with advice on how to draw really specific things.

Like showing how to make what the person is feeling through the expression of the eyes, and the mouth itself.

[eatsleepdraw]

„Guillermo Del Toro: In Service Of Monsters“

Illustration for a group artshow in Gallery1988 in tribute to the films of Guillermo Del Toro.

by Manuel Kilger www.manuelkilger.com

follow Manuel on tumblr!

—

Immediately post your art to a topic and get feedback. Join our new community, EatSleepDraw Studio, today!

[stilzey]

Manuel Kilger

www.manuelkilger.com/#myartwork

[johnny-dynamo]

Aliens by Manuel Kilger

[hellololla]

Hey, Friday!

SEXTOU! (brincadeira) estamos aqui na atividade, ou tentando voltar a ela, e por isso surge uma tag meiga pra relaxar fechando a semana de trabalho com coisas bonitas.

a diretoria vai estar tentando estar postando toda sexta feira (ou sábado, se estiver saindo atrasado) um potpourri das coisas e links mais bacanas em que estará esbarrando durante as varreduras da www - ok, eu sei que vocês têm preguiça de clicar nos links e ler os artigos, então vamos postar umas figurinhas também porque afinal hoje é sexta e todo mundo quer descanso. abre uma cervejinha, faz um chá e sentaí.

ilustrações fofas do manuel kilger (essa do dustin com seu pet demodog roubou meu ♥)

eu adoro qualquer coisa relacionada a árvores e me apaixonei por essas folhas de verdade transformadas em jóias com a técnica do electroplating (da svetlana dolgova no etsy).

brinco de plantas carnívoras? anéis de suculentas? cheese plants de feltro? take all my money? (Allim Yalo)

junte a louca das velas + a louca das caveiras (eu mesma), considere que esta loja é british e já estou no aguardo da minha encomenda (da ember candle, se eu tiver coragem de acender alguma)

pins literários também fazem o meu cartão de crédito derreter dentro da bolsa (literary emporium)

parecem doces, mas são suculentas (o instagram da lost coast só tem planta, mas dá fome)

eu também sou a louca das louças, e essas aqui parecem feitas de cocô de unicórnio coberto de fairy dust, OH MY (da silver lining, socorro, olhem essa loja ♥♥♥)

não sei se tenho moral pra segurar o look, mas olha que lindas as meias decoradas by lirika matoshi (mas eu adoraria esse cardigan, e em se levando em conta o trabalho não está caro).

isso é muito legal: lothlenan recria pinturas clássicas com personagens da cultura pop. ♥

gatos. usando chapéus. feitos com seu próprio pêlo. by ryo yamazaki. obviously.

☆ how to be popular - genial. ☆ scandi decor love... essas almofadas, o mood board, o escritórios, as plantas... ☆ chocolate buttermilk expresso cake. mesmo que você não vá fazer, as fotos. ♥ ☆ "please don't tell me i'm beautiful" - powerful read, ppl. ☆ the women of john hughes (ensaio sobre as personagens femininas dos filmes do diretor, e eu adorei as ilustrações) ☆ exposição de fotos mostrando bastidores cândidos da indústria pornô (NSFW) ☆ essa é antiguinha, mas se você ainda não viu, a sara tem um projeto chamado "me and luke skywalker". haja devoção a star wars (ou ao mark hamill...)

Happy Friday! ♥

[geekynerfherder]

Gallery1988's annual show, 'Crazy 4 Cult', is back for it's 12th year with artwork from over 200 artists inspired by popular movies!

The opening reception is Friday December 7 from 7-10pm PT at Gallery 1988 (West), 7308 Melrose Ave, Los Angeles, CA 90046 and will be on view until December 29.

[maxis-continued]

The Sims 15th Anniversary Wall Art On Various In-Game Paintings

I always thought Maxis would have given us these in-game if TS2 production was active during the 15th Anniversary!

I came across these art pieces here a while back and figured they would be perfect for in-game use! I decided to recolor in-game wall arts that best matched the style of each piece. I only did 11 out of the 15, because I did not do any of the pieces that presented English text. Again, I like to keep everything within the spirit of the game, so if the pieces had Simlish instead of English, I would have most certainly done them!

Karl Yvan Tagle on Surfing The Universe Poster (Requires UNI)

Manuel Kilger on Great Films Movie Posters (Requires FT)

Glen Brogan on Great Films Movie Posters (Requires FT)

Tizieu on Pineapple (Requires NL)

Ronan Toulhoat on Pineapple (Requires NL)

Quibe on Pineapple (Requires NL)

Florey on This Olde Cabin (Requires BV)

Lenka Simeckova on The Muse (Requires GLS)

Laurent Duvoux on Artig (Requires FT)

Ian Wildling on Artig (Requires FT)

Gregoire Guillemin on Artig (Requires FT)

Games Required: BG, UNI, NL, GLS, BV, FT

Credit: various artists, Maxis

Download: sfs | alt

[jazamcomics]

Das neue JAZAM! ist da! Wir freuen uns, euch heute erstmals das tolle Grusel-Cover von Manuel Kilger zu zeigen.

Einen Blick ins Innere des Buches könnt ihr hier werfen: Leseprobe bei MyComics.de

"JAZAM! Schreckgeschichten" ist ab sofort bestellbar bei:

- Kwimbi (mit Signatur & Zeichnung von Adrian vom Baur) - Amazon.de - Hummelcomic.de  - oder direkt bei uns: http://www.jazam.de/index.php?r=site/shop

[everythingstarstuff]

Don't fear the reaper Manuel Kilger