Jake Kobrin Illustration and Conceptual Design

CGHUB

2011-11-27T11:11:00.000-08:00

I've started posting my artwork on the website CGHUB. Please take a look at my portfolio on the website. A few of the pieces are featured here on this blog, but most are new and those that were already posted were improved upon.

http://jakekobrin.cghub.com/images/

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Website in the works...

2011-10-19T11:22:00.000-07:00

I haven't updated this blog in a very long time, and that is because I am currently working on a website for my artwork. It should hopefully be live within the next few months. I have created a lot of artwork since the last time I have posted here for patrons including, but not limited to, Wolves in the Throne Room, Yob, Devin Townsend, and Worm Ouroboros. I also was one of the winning finalists in Wacom's summer art competition. These pieces and many more will be displayed on the website.

Thanks for the support,
Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

ZT Mag Drops

2010-11-28T11:35:00.000-08:00

The issue of Zero Tolerance Magazine that has a two page spread about my artwork was finally released!

Pick it up at your local book or music store, or order it straight from their website!

http://v2.ztmag.com/current.html

New Work

2010-11-13T23:19:00.000-08:00

Here is some work that I completed relatively recently.

This is a logo and album cover design for the Irish black metal band Fuil Na Seanchoille through Me Saco Un Ojo Records.

http://www.myspace.com/fuilnaseanchoille

http://www.mesacounojo.com/

This is another album cover (and sleeve design) I completed recently, for the debut album, titled The Hill, of black metal band Autolatry.

http://www.myspace.com/autolatry

Here are some logo designs I have done for the progressive metal band The Faceless. The first is an ambigram (it remains the same if rotated 180 degrees.)

http://www.myspace.com/thefaceless

And this logo was made for psych-rocker's Sects (also an ambigram.)

Jake Kobrin

Illustration and Design

info@kobrinkustoms.com

Interview for Zero Tolerance Magazine

2010-11-13T23:12:00.000-08:00

This is an interview that was conducted by Zero Tolerance Magazine http://v2.ztmag.com/> with myself for my artwork and music interests. It was conducted by Cormac O'Síocháin.It is for issue 38 (November/December 2010.) Please purchase the magazine to see the full spread along with some of my artwork.

1. When did you first begin producing art? What was your first paid work?

I’ve been producing art since I was strong enough to hold a pen (or crayon,) essentially. My first “serious” venture into art was a somewhat unusual one, actually. When I was about 10 or so, I began to paint war-gaming miniatures. I became extremely passionate about the hobby, and I began spending countless hours towards improving upon it. Although the art form may be amongst the lesser respected, I learned an incredible amount on the fundamentals of artwork through the practice. I suppose, to an extent, that my first paid work was also in this vein, as I sold a few of my miniatures (when I was perhaps 12 or 13.)

After painting miniatures I transitioned into painting murals with an airbrush. I never had much success with the “commercial” aspects of the art form, but I did a few jobs. My transition to music-related artwork came about later and began with creating artwork for local bands when I was 15 or so.

2. Are you involved in other visual art, such as film, or non-visual art such as music or text?

Playing music is another great passion of mine. I play bass mostly (fretless, specifically, for any fellow musicians reading this,) but also keyboards, vocals (both distorted and melodic,) guitar, and recently I’ve begun learning to play drums. I play various positions in a few bands and I write some material for those projects as well as for my own personal fulfillment. Aside from playing music, I very much enjoy writing. I spend a lot of my free time writing reviews about music. I also write poetry, though the majority of that practice is applied to my musical ventures.

Furthermore, in high school I was a part of a film program so I had a brief venture into documentary filmmaking. Aside from the work produced within that program, however, I haven’t done much in the vein of film. If I had the proper equipment (though that’s not really a valid excuse, nowadays,) I’d love to produce a series of dark and surrealistic short films.

3. You work in many different visual media, from pen & ink, to airbrush, to digital manipulation, to paint. It seems that a majority of artists engaged in similar themes to your work concentrate solely on one or two techniques, yet you’re continually experimenting. Is there a medium you prefer over the others, and what is it that drives you to work with so many different methods?

I switch over to other mediums simply because I enjoy working in a variety of mediums. Each has their own unique properties that can be utilized for different effects, etc. I don’t really understand artists that only work in a single medium, because switching mediums doesn’t really slow down the process for me, nor does it create much fluctuation in quality. Besides, I believe that it makes my portfolio appear more diverse. I am the same way with music; I’d like to be able to play essentially every instrument because each has something unique to offer.

4. Since much of your work tends to be music related, this suggests that you find inspiration outside of the solely visual. What have you found particularly influential in your development, whether it may be music, art, film, books, philosophy, computer games, comics, etc.

Music is probably the greatest influence upon my artwork, regardless of the fact that it is non-visual. I also take influence from my dreams (especially those that are lucid and/or exceptionally vivid,) transcendental practices (meditation), philosophical and religious texts, my life experiences, and, most importantly, my emotions. Anything that can create some kind of emotional response within my mind can contribute to my artwork. My artwork is only a means of conjuring my emotions and manifesting them in a way that can be experienced by other people.

Furthermore, I, of course, take inspiration from other visual artists, as well as film, conceptual designs for video games (though I’m not so fond of actually playing them,) etc. When I was younger, the contribution of these visual sources was much more opaque, though nowadays it is more of a stylistic thing, or more from a compositional standpoint, etc. There is always something that can be learned from something visual, even if it’s something to remember not to do.

Nowadays, I gravitate more towards textures. I love complex textures in wood, paper, dirt, and the like, and I try to apply these textures within my artwork.

5. Have you received professional training and/or gone to art school? Do you think it’s important? What are the advantages/disadvantages of such?

Other than the art classes I took while I was in high school, I have never received any professional training in visual art. I have attended art workshops, namely those presented by ConceptArt.Org/Massive Black, that were absolutely amazing, and very worthwhile. I am about to (finally) begin attending art school which I am very much looking forward to.

Honestly, if you can afford to go to art school, then by all means do. I don’t know anyone that considers art school a waste of time or anything of the sort. There are, however, certainly methods of learning visual art that are much less expensive. For example, there is an unbelievably thorough amount of knowledge available for free on the Internet. There are also online art schools, apprenticeship situations, ateliers, etc. Unless you intend to teach, a degree is not that valuable in the art world, and I know of plenty of exceptionally successful artists that never went to art school.

6. Compared to a regular nine-to-five job, how feasible is it to make your living as a visual artist? Compared to the time you spend on it, what do you make on average per hour (if you don’t mind me asking)? Do you make a full living from it or do you also have a side job(s)? Would you like to do it full time, or would that sap your energy for it?

It’s entirely feasible to make a living as an artist. There are some areas of artwork that are more economically viable, however, such as entertainment/conceptual design (the entertainment business being one of the largest in the world at the moment,) commercial package design, etc. It’s rather difficult to make a living as a fine artist (an artist that creates artwork based only upon their own criteria and makes money by selling the original artworks) although I know a few who are rather successful. For artists such as me, who create artwork for music packaging, logos, etc, it’s not the easiest way to make a living due to the fact (and I am somewhat joking) that most musicians don’t have a great deal of money... There are plenty of successful music-based artists, however, and one shouldn’t be discouraged from attempting to make a living in this way.

In a way art is my “day job” because at the moment I do not have a “regular” nine-to-five job. Other than commissioned artwork, I make some money utilizing my Photoshop skills, selling records and other music items, and teaching art and music to a few people. My income through my artwork fluctuates wildly, due to the fact that there are often large periods with very little work rather than a steady stream of work. From an hourly perspective, it also fluctuates. I can make as low as $10 an hour, or as high as $100 an hour depending on the specific job.

Being a freelance artist is certainly one of the few jobs in the world where you can work entirely based on your own rules (like to sleep until 4 and then work in your pajamas until whatever time you wish!) It allows you to be your own boss, which is awesome, though some don’t know how to handle that freedom (and I am certainly less organized than I should be for the position...)

7. When you begin work on a commissioned project for a band, what is the process? What dictates the shape of the work (other than specific instructions from the artist)?

Well, obviously, I try to base the artwork as close to the briefing as possible. The majority of the time, however, I have quite a large amount of freedom with the design, due to the fact that logos and covers are often rather abstract and difficult to dictate. This can be very frustrating at times. If the client doesn’t know what they want, it’s very difficult for me to give them a finished work that is close to their original vision.

The first thing I always do to gather inspiration is listen to music by the band that I am creating artwork for, or at least music I know is in the emotional/atmospheric range I’m aiming towards. It’s my artistic duty to listen to the music and to translate whatever emotions and imagery is conveyed aurally through a visual representation.

If the music could not fully stimulate creative flow, I’ll look through my art-books, collected artworks, surf the web, etc. I try not to rip-off other artists, but their inspiration certainly shines through in certain areas of my artwork, if you know where to look.

Furthermore, occasionally I will already have an idea fleshed in my sketchbook, and I will use elements of that image, or work entirely from that image, for the final artwork.

8. Do you find it’s difficult to get paid from people who’ve commissioned your work? What do you do to ensure payment?!

I’m fortunate to never have been ripped-off by a client. That is, no client has ever used (or printed) one of my images without me first receiving payment. In order to ensure this, I never give the client the full resolution files until I have been paid in full.

I have been fully ignored by clients, however. What I mean is that there have been instances in which I have received no response from a client after sending them a preview image of an (finished) artwork. In such cases they ignore all communication. It is very discouraging and horrendously unprofessional for the client to do this. I encourage criticism from the client if they are not satisfied with the finished image, due to the fact that it can improve the image and lead to greater happiness for both me and the client.

I believe that a small down payment would discourage clients from avoiding communication, and I am going to make it part of my policy in the future.

9. These days most people ‘consume’ culture through a screen. What are the net effects of this? What is the importance of artifacts? I can hook my Macbook up to my HDTV and see your art in high-res; it’s just the same as a print, right? I can download albums and play them on my fancy headphones through my iPod and it’s no different to putting on a vinyl record at home, yeah?

Well, I’m not one to go around annihilating iPods or anything, (and if you get that reference, I salute you,) but I am not in support of the digitization of media. I have a rather substantial collection of vinyl records, CDs, and cassettes. For me, it has a lot to do with the sentimental value of the objects. I love and cherish my records. I love everything about them, from their storage, which serves as my personal altar and monument to music, to how they must be carefully handled when placed onto the turntable. In my own way it feels as if it takes more devotion to the music or something of that sort. Also, each listening experience from an analog format is unique. You can’t download the “sound” of a vinyl record, but you can certainly download something that is at least CD quality. I also belong to the school of pretentious music fans that believe that vinyl presents the best audio quality, though that statement is usually rather ironic.

For visual art, it is the same way. No matter how high of a resolution the image is, you cannot exactly replicate the appearance of a physical artwork. Galleries and museums would not exist if digital representations were fully adequate; the difference is, in actuality, immense. There is weight, texture, and lighting involved that allows your eyes to compute the physical artwork in a way that is three dimensional. I have observed many cases in which the printed artwork looks infinitely better than the digitalized copy of the image (and this is true even for digital artworks.)

The emotional and sentimental aspect of artifacts applies to artworks as well. Owning a physical copy of an artwork can create a more resounding emotional impact. For example, when I went to see a showing of Rodger Dean’s artwork at a local gallery about a year ago, I struck up a conversation with an older man about the significance of album covers. “Back in the seventies,” the man said, “we used to generate incredibly vibrant worlds to fit the music that the artwork represented. We used to spend hours and hours staring at the album covers and dissecting every detail of the artwork. Every time we’d listen to the record, the album cover would be displayed on top of the turntable and it would create a bond in which you can’t hear the music without seeing that imagery in your head.”

That “holy bond” between music and artwork is practically non-existent within the majority of the music culture of today. Most kids buy (or pirate) their music online where the artwork is displayed as, if at all, a thumbnail sized image that is barely visible. It makes me sad to see this, and one thing I would like to do, and have had the privilege to do in the past, is to create artwork that inspires people to buy a physical copy of the music. There are some companies doing amazing things in music packaging at the moment, as if in defense of this threat towards album artwork.

10. Your Void of Emptiness blog is an interesting (and utterly audacious!) project, detailing a deep passion and fascination in music. Personally it’s the only thing that makes sense to me in the world. When did your interest in music begin? What is it that makes it so important to you?

Music has been my greatest passion for the majority of my existence. It is one of the things that most thoroughly motivates me to live. Like you said, it is really the only thing that makes sense to me in the world (though, unfortunately, the more you study music, the less sense it makes!) Music allows one to experience something that feels so incredibly intimate and emotionally connected, that it is almost “beyond” the norm. I’d rather “use” music than psychoactive drugs, to be honest.

I’ve always been attached to music. I grew up in a household were music was being constantly played. My parents, especially my father, were (and are) huge fans of music and they were taking me to rock concerts since I was a toddler. My real passion for music didn’t fully blossom until I was a little bit older. I believe it really took off when I received AC/DC’s Back in Black as a Christmas gift when I was 10! Since then I’ve grown truly obsessed with music, and I am constantly searching for new music.

Older Commercial Work

2010-03-26T00:32:00.000-07:00

Here are a couple of things that I originally created for clients but for whatever reason, the project never went through. I've waited a rather long time to post these...

The first was going to be an album cover, it's depicting a Satanic ceremony of some kind.

The second is a logo for a band. I won't post the name, but if you can read it then GOOD FOR YOU!

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Something Metal and Something... Not

2010-03-25T14:19:00.000-07:00

Here are some illustrations I've finished recently. The first is a poster I designed for British alt-proggers (well, they used to be...) Muse. This is for a contest for a local radio station. Wish me luck!

I needed to un-purify my artwork after creating the Muse poster so I created a piece that reflects the kvlt aesthetic of trve black fvkking metal! (Yes, I'm kind of kidding, but anyway...) This is probably my gnarliest piece yet...

Hopefully this reflects my versatility and doesn't hinder any appreciation from either the metal or non-metal side of things...

What Happened to Us Here?

2010-02-25T17:20:00.000-08:00

Hello,

Here is a t-shirt that I designed for one of, if not my favorite band, Ulver. It is a mixture of pen and ink and digital.

If you do not know of Ulver, you poor, poor person, then check them out their myspace page or better yet, purchase their entire discography and listen to it chronologically...

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Khi Darag!

2010-01-23T12:18:00.000-08:00

Here is a logo design for Khi Darag!, an awesome psychedelic/middle-eastern/experimental rock band from San Francisco. I HIGHLY recommend checking them out, especially if you're a fan of Secret Chiefs 3 or any bands from the 70's Raga Rock/Indo-Prog scene (or any mid-east psyche really). I'll be creating some other illustrations for them in the future, as well.

Their Myspace: http://www.myspace.com/khidarag
Order their new EP: http://www.cdbaby.com/cd/KhiDarag

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Two More Logos

2010-01-13T23:51:00.000-08:00

Here are a couple of other logos that I forgot to publish. Both say AIM. The first is actually an ambigram, much like the Sunn O))) logo I created earlier. Obviously the first is more legible whereas I opted for a more sinister and atmospheric approach for the second.

New Logos

2010-01-12T15:04:00.001-08:00

"Infernal hails", readers...

Here are a couple of logos that I have designed recently. Both are for practice and not "real" bands. The first was inspired by the famous (or rather infamous, depending on who you talk to...) book on "satanic heavy metal" in Norway, Lords of Chaos and the second is simply a fake band name I came up with, Faugg. The reason for the Lords of Chaos logo is that, on the book, the title "artwork" is ridiculously bland and not in the slightest bit appropriate for a novel on black metal. The Faugg logo was fairly experimental, at least I have never seen a logo that's exactly like it. I don't know if the experimentation was very successful...

SIXX Album Cover

2009-10-13T11:58:00.000-07:00

I have recently worked with Nuclear War Now! Productions to create the album cover for the release of the recently uncovered SIXX "Sister Devil" Demo.

View all pictures of the artwork here.

SIXX “Sister Devil” LP and Picture LP
ANTI-GOTH 136

" “Sister Devil” was conceived and executed by the same evil entities that were responsible for VON’s legendary “Satanic Blood” and “Blood Angel” demos. Now 15 years after in was initially recorded, this lost recording by SIXX is presented for the first time. Although retaining VON’s penchant for darkness and repetition, SIXX deviate from the black metal form and opt instead for a sound reminiscent of Joy Division, Bauhaus, Sisters of Mercy, and Samhain.

" Both the black vinyl and picture LP versions come with reverseboard printed jacket, A2 poster and 12″x12″ insert. Die hard double 12″ 45 RPM version with case wrapped jacket will be back in two to three weeks. All versions will also be available at the NWN fest in November. "

" By now, Von’s impact on the development of black metal is undisputed, and their work is universally praised. Shortly after the release of Von’s “Satanic Blood” demo, the members of Von shifted their focus to another project that would come to be known as Sixx. The obscure “Sister Devil” demo, the only recording produced under the Sixx moniker, represents a distinctly different approach to music, but retains, nonetheless, many of the same elements that characterize the style of Von. Like two poisons that attack the body in different yet equally lethal ways, Von and Sixx produce similar effects on the listener while pursuing two divergent paths of execution. Sixx do not play black metal, but the atmosphere cultivated on “Sister Devil” is every bit as nihilistic and void of light as on “Satanic Blood.” Sixx instead play a style of music most closely resembling the genre known as death-rock. And while traces of Bauhaus, Sisters of Mercy, Samhain, and Joy Division can be heard in Sixx’s music, “Sister Devil” conveys a decidedly more satanic approach than any of the aforementioned bands’ work. Also, in much the same way that Von utilized trance-inducing repetition as one of its primary tools, Sixx also rely on the same technique with similar results. The instruments and vocals are recorded clean and the focus is on the melodic character of the songs. The melodies employed, however, are pure in their bleakness. Lyrically, Sixx revel in themes that could have been equally applicable in a black metal context, and the listener will notice that “Sister Devil” also features spoken word interludes like those heard in the recordings of Von. Moreover, while the performance of the instruments may be clean, the lo-fidelity recording quality demonstrates the same stark simplicity of the Von recordings. When Sixx recorded “Sister Devil” they were a band without an audience. These were not the highly regarded forefathers of black metal that they are perceived as today, but rather, young musicians struggling to find a voice in an era in which no other band’s approach to music adequately represented their vision. For black metal purists, “Sister Devil” may only be a curiosity to examine for its historical relevance. Even for this purpose it is valuable. Hearing Sixx certainly elucidates many of the influences that coalesced in the sound of Von. For those listeners who place value in genres of music related to, but still outside the sphere of metal, this demo is of even greater importance. It stands up to the recordings of other bands within the death-rock genre of music, but still demonstrates an appreciation for the aesthetics that were influencing black metal at that time. Indeed, Sixx’s music would stand on its own even if it were not related to Von. Whatever purpose one may have for stepping into the suicidal and empty universe measured out by their music, the effect of Sixx’s “Sister Devil” demo is profound. After having been completely abandoned and forgotten for 18 years, NWN!, with the cooperation of Goat and Kill from Von, has unearthed this legendary demo which is as potent today as it would have been when it was originally recorded. Remastered by James Plotkin and accompanied by new artwork created by Jake K., “Sister Devil” at last will receive the presentation and distribution it rightfully deserves. "

Click here to order the black vinyl LP.
Click here to order the picture LP.

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

2009-08-20T15:25:00.000-07:00

This is a logo I designed for a San Francisco based record label known as The Flenser. They are not currently active but they are aimed at being a label supporting black metal and noise musicians.

Thanks for viewing,
Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Gig Posters For Sale

2009-08-10T19:56:00.000-07:00

I have a few of the gig posters left over from the Sunn O))) concert so I placed them on Ebay. If you'd like to purchase one visit the listing here: RARE LIMITED EDITION SUNN O))) POSTER ORIGINAL PRESSING

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Sunn O))) Gig Poster

2009-08-04T23:43:00.000-07:00

Hi,

When I saw Isis recently (at The Great American Music Hall) I ran into a brilliant artist there by the name of David D'Andrea who was selling prints of a gig poster he had created. I asked of him how he was able to obtain this job and he said to me that all you need to do is email the band and ask their permission. "You need to need to make back your money," he advised me, "but it is ultimately a very fun way to utilize your artwork." About a week later two concerts of the Experimental/Drone band Sunn O))) (pronounced simply Sun) were announced, one in San Francisco at the Independent which is sadly a 21+ only venue, and an other at the historic (and proclaimed haunted) Brookdale Lodge in the Santa Cruz Mountains. I decided to create a gig poster for the Brookdale gig, and I immediately emailed Greg Anderson, one of two founding band members, for permission. Once he obliged I immediately began work and the end result was what is seen below.

This web version is slightly smaller than the actual prints which are approximately 11x16. The text at the top (the logo) says Sunn O))), it is the ambigram that I created, the bottom left text says,
"The Accused and Eagle Twin
The Historic Brookdale Lodge" and on the bottom right it says, "08/09/09" The text is purposefully unreadable...

Parallel to the poster I created an ambigram for the word(s) Sunn O))). If you print this logo out and turn it 180 degrees, the image stays exactly the same!

Here are the band's websites:

Also I am going to be featured in an upcoming issue of Imagine FX: International Fantasy Art Magazine!

Take care!

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Acrylic Painting

2009-06-06T00:44:00.000-07:00

An acrylic painting that I finished about six months ago but never was able to get a good picture of it until now. It is 18x24 on self-stretched canvas.

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Increidlby Over-Due Art Update: Negură Bunget, T-Shirts, Logo, etc.

2009-05-09T22:33:00.000-07:00

HI!

I'm sorry for the tremendous delay in my posting. Here are some projects that I have completed recently.

Firstly, a logo design for my artistic services which is now at home on the top of this blog. If you wish, there are t-shirts available with the logo on them. They are $20 each (plus shipping and handling). Please email me with the sizes you wish to purchase.

I recently acquired the opportunity to design a T-shirt for one of my favorite bands, Negură Bunget. The Romanian spiritual mettalers contacted me through Code 666 in February and I was more than happy to complete the work. The designs are below:

This shirt is available for purchase here:

Aural Music Store

And packaged with their 2006 release OM here:

Aural Music Store

I also recently completed a T-shirt design for a group known as the "Prib Crib".

A digital illustration I completed for the challenge prompt "Loss of Innocence"

Take Care!

Jake Kobrin
Illustration and Design
info@kobrinkustoms.com

Practice Album Cover

2008-10-08T00:44:00.000-07:00

Hi,

Here's an album cover for a fake band, named after a club that used to be at my school, that I made for practice. I also mocked up a quick case layout. A T-Shirt design will be next.

Jake Kobrin
Illustration and Conceptual Design
info@kobrinkustoms.com

T-Shirt Designs:

Martin Mendez

2008-10-01T18:14:00.001-07:00

Hi,

I got a new Sumi-E brush from China Town and I really wanted to just do... something with it. I wanted to draw a portrait so I decided who better to ink than one of my favorite musicians and possibly the greatest inspiration for me to start playing bass - Martin Mendez.
It's black ink, and very diluted white paint (Windsor and Newton). All of the textures are hand made/painted, they're not photo over lays. The scan really makes it look bad, it looks much better in real life.

Jake Kobrin
info@kobrinkustoms.com

Vegetable Man

2008-08-22T18:12:00.000-07:00

I did this just for fun/practice. It's was the third photo-manipulation illustration I've ever done. I rarely do any of these, but they're very fun to do and in my opinion, cool looking so I'll probably do more in the future.

Enjoy!

Jake Kobrin
info@kobrinkustoms.com

p.s. just so I don't get in trouble. The photo of the graveyard was taken by http://www.maddiedigital.co.uk/ . The other photographs used were taken off of the web... I didn't get any permission to use them but I'm not planing on making any money off of this image so I hope it's OK.

That Won't Kill Me!!!

2008-08-12T16:43:00.000-07:00

Heres my entry for the second round of the Conceptart.org Last Teen Standing. The topic is That Won't Kill Me!!!

Nine-Lifed Ted:

Art Dump

2008-08-06T18:11:00.000-07:00

Sorry about taking so long to update this blog. Here is some of the artwork I've been working on recently.

Jake Kobrin
info@kobrinkustoms.com

First an album cover I did for the Black Metal band Vuotan:

A piece I did for the Teen Thunderdome on Conceptart.org:

And this is a rendition of a sketch that was done by Adam Jones from the band Tool. The first picture is his sketch and the others are my rendition.

And a self portrait I airbrushed for the "Devil Inside" competition on Mike Learn's learnairbrush.com:

And a still life I did of a dog skull I acquired while in Mexico.

Thank you for looking!
Jake