Creative Folio

Commercial
Art and
Personal Projects
Gregor Louden
It is widely seen as important
for a designer to maintain a body
of non-commercial, self-authored
work that keeps things fresh, informs
commercial projects, and leads to
new opportunities.

www.gregorlouden.com Showcase 2012

Gregor Louden Showcase 2012

Publications

Workthrough

Gregor Louden
Showcase 2012
Gregor graduated from Manchester Metropolitan
University in 1999 with a BA hons in Illustration with
Animation. He has since gone on to establish himself as
a freelance artist/illustrator choosing to express himself
through his enthiusiasm for drawing. While primarily an
illustrator, he also enjoys painting and sculpture and
maintains a keen appreciation of graphic design and the
methods that may be adopted within that field.
He has recently exhibited in Philadelphia(twice), Berlin and Glasgow.
More recently, he released his first publication, a book of illustrations. In order to
help promote the book, a book launch was held at the Recoat Gallery in Glasgow
in October last year. The book is now in its second edition.
Gregor Louden now lives and works in Florida, USA.


Publications

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Early in 2009, I began creating illustrations of various buildings 01
and structures which were to be eventually compiled in my first Lost and Found, structures
book publication which I named “Lost and found, structures”. Illustration from book
In late October, in order to help promote the book, I held a book 02
launch at Recoat gallery in Glasgow where I also exhibited the China Town
Illustration from book
original illustrations on the night.
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New York juxtapose
04
Bird on a wire


01
Lend me ten pounds, I’ll buy you a drink
Pencil illustration. Part of a series of five seperate
illustrations which were eventually presented in
small square box frames.

02
New York from above
Pen illustration.
Originally produced for inclusion
in the book “Lost and Found, structures”.
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Torre Apponale Rooftops

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NYC

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Building Ball

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Building Ball Detail

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Barcelona

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Glasgow 16


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Wacom Concept

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Wacom concept(detail)

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These particular illustrations 11 15
were made in order to Rampage on Broad Street Long walk home
experiment with using
different elements in one 12 16
composition. I have been The Busker Never on a school night
trying to research how
succesfull it is to use
photographic backgrounds 13 17
with illustrations used in the Road rage on Broadway Ulcer scales the rooftops
foreground.
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Deadbeat Hunter


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Northern Liberties

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Ho Cunto to the bar

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Hanoi 2
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Sau Paulo

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Trainwreck

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Four Stages of Tommy

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Rupert on the Ropes

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Godard 1930

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Sprawling Metropolis

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New York
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Sprawling Metroplolis 2

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Hanoi

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20th Century All-stars, Bob Dylan


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20th Century All-stars, Hunter S. Thompson


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01
A thousand miles not longer than one
Philadelphia, USA, 2008
02
Live paint Session
Berlin, Germany, 2007
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Third in a one horse race
Edinburgh, Scotland, 2006
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Intoxicated Demons
Berlin, Germany, 2007

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Workthrough

Combining photographic elements with traditional hand drawn
images can be a challenge but with a little help from photoshop,
the results can come out quite well. Over the next few pages, I’ll
try and show you the process that I went through in order to create
this composition.
This particular piece was part of a personal project which is still very much on-going.
Originally starting out as an experiment to see how well different forms of media can
work together, the eventual aim is now to take the project into animation.


Workthrough

01 So, I started by scanning the 02 Then I duplicated the layer. I done 03 What I wanted to do here was to
original drawing into photoshop. this by clicking the layer called get rid of all the white areas so that all I
Remember, the larger the better! I "Background" and dragging it to the was left with was the black lines from
never scan in an image any smaller ‘new layer’ icon(circled) at the bottom of the drawing. This was done by
than 200 Resolution. 300 is best. the layer window. destaturating the image and increasing
the tone by using the curves option.

04 By holding down command and 05 After inverting the selection(to 06 I then-whilst making sure I was
clicking on the channels pallete, I was select the black areas), I created a new working on the new layer-filled the
able to select all the white areas of the layer. selected areas with black. I named this
illustration. layer “line art”.

07 Finally, I created two new layers. 08 Working on the ‘line art’ layer, I 09 Now I was ready to add colour to
Filled one with white and one with a used the Eraser Tool to get rid of any the visual.
light shade of blue. I renamed these unnecessary lines or marks.
layers ‘white backing’ and This was just to help the lines to be
‘blue backing’. I dragged both of these more clear.
layers under the "line art" layer.


Workthrough

10 I created a fill layer for each 11 The colour picker box was then 12 I then renamed this layer as the
colour for the figure. This is done by revealed. After selecting the desired section I wanted to colour, In this
clicking on the icon above. colour, I then clicked on OK. instance, it was ‘skint-tone’.

13 Working on this layer, I then 14 I selected white, selected the 15 It was then just a matter of
filled it with black which ensures that paint brush tool, and started painting in repeating this process for all the
the colour is temporarily hidden. the areas I wanted. colours I wanted to add. If the colour I
was adding was too close to white, I
would then use the light blue backing
layer.

16 If at any stage I wanted to 17 Now I had all my colours, 18 It was now time to create the
change one of the colours, then it was it was now important to start making shadows on the figure. Like before
just a matter of double clicking on the the illustration come to life. where I added the flat colours, I clicked
fill layer and reselecting an alternative on the icon above. Only this time, I
colour. clicked on hue/saturation.


Workthrough

19 I moved the saturation slider to 20 Then I had to clip this layer to 21 I could then add the shadows by
the right and the lightness to the left. the appropriate colour layer by creating filling the layer with black, selecting
This can always be re-adjusted later a clipping mask(hold down “alt” and white, selecting the paint brush,
on. hover the cursor between both layers lowering the opacity and then painting
the click). in the areas desired. This takes a bit of
practice.

22 Adding the highlights is almost 23 I now had my figure pretty much 24 Once I had added it to the
an identical process to adding the complete. It was now a matter of background, I duplicated the layer.
shadows. Only this time, after selecting adding the photograph to the I made sure that the layer with the
the hue/saturation fill layer, you must background. I’d had this one in mind figure(now flattened to one layer) was
move the stauration to the left and the from the beginning which I had taken in between them both.
lightness to the right. Philadelphia.

25 On the duplicate layer of the 26 Using the same process for 27 And there it is. This process
photograph, I then masked out rendering that I’d used on the figure, I takes a bit of patience and practice but
everything in the photograph except added a few objects to the background it can produce some pretty cool results
the street light. This helped to give the to add to the chaos of it all. if you’re willing to invest a little bit of
impression that the figure was within time.
the photograph.


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