Tyler, the Destroyer
As we approach the twentieth anniversary of the barnstorming cinematic wrecking ball that was Fight Club, I took the opportunity to rekindle my love affair with the cult-classic and apply my craft to Brad Pitt’s sublime portrayal of serial purveyor of mayhem and God’s very own unwanted child, Tyler Durden.
Movie still from Fight Club © Twentieth Century Fox Film Corp.
It’s only after we’ve lost everything that we’re free to do anything
Before I began, I had to make a choice; to return to the comfort and ease of cartooning or continue to develop the more realistic style I brushed up against with my previous rework of Danny Brown. After a grossly unsatisfying attempt at the former, I proceeded to let go of my inhibitions and stride forward into less familiar territory. As it would turn out, abandoning an intuitive approach opened the door to new techniques and afforded me glimpses to a wealth of otherwise undiscovered possibilities.
Premature enlightenment
Despite the positive step forward in progression, however, I found that interpreting what is visible—in this case, translating a screen grab in to line work—presented a milder challenge than conjuring what is otherwise less obvious to the eye. A testament perhaps to more modest cartoon styles and a standing reminder that, if nothing else, when it comes to illustration, what we may perceive to be less can sometimes demand much more from the creative mind.
The conversion process. Improvement or destruction?
Constructive procrastination.
I am Jack’s borrowed influence
Drawing inspiration from illustrators such as Ken Taylor, I applied colour and defined textures using only solid blocks and, in the process, challenged myself to find solutions to light and shade without relying on a single gradient. A watered-down (but no less effective) example of this technique can also be observed in animated TV shows like Archer.
I say never be complete
With Tyler’s philosophical commandments reverberating around my mind—fresh from a recent Friday night viewing—I resisted the temptation to overwork areas (see: hairline, goatee, fur coat) in order to produce a more raw and unrefined effect. Not only is the introduction of organic elements to my work economising the timeframe within which I am now completing projects, it is also providing a very welcome remedy for the tormented screams of the relentless perfectionist in me.
Perception realigned.
Like a monkey ready to be shot into space
By far the most gratifying part of the process is getting to hold the tangible product upon completion. With the print button providing (almost) instant tactile feedback, the countless hours spent pushing pixels around a screen all suddenly become worth it.
