Painting (Now With Real Paint!) Posted on 26 Oct 2013
Digital artists have a hard time of it. We're used to accusations of "digital trickery," and have to answer questions like "isn't it amazing that a computer does this all for you?" To top it all off, traditional artists like to kick sand in our faces at the beach and "accidentally" spill turpentine down our laptops in art class.
I never really learned to paint properly. Most of my "paintings" in art school were Sharpie and paint-pen monstrosities on Masonite, and if I ever picked up a brush seriously while I was there, I certainly haven't done so since. Lately I've been wanting to get back into traditional media for a few reasons:
The finished watercolor underpainting.
The first pass with oil paint.
Finished out with thin glazes to tweak the color.
Hours of painstaking labor cavalierly reduced to a few seconds.
Illustrious Interview Posted on 18 Sep 2013
No pictures today - I'm still adjusting to my everyday life after an awesome weekend at Illuxcon, which I'll dedicate a blog post to in the near future. Until then, an informal but heartfelt thank you to all the artists, art directors, and friends who went out of their way to make the convention such a great experience to me.
I've been inundated with new and exciting projects this week, so blog posts will be sporadic and/or completely nonexistent. Rest assured, I am holed up in my studio producing new art for the future edification of my loyal followers. To tide you over until I surface, here's an interview about my art courtesy of writer/editor Alex Hurst's "Illustrious" interview series. She had some great questions that 1) Made it clear that she knows more about my work than I do, and 2) Gave me the opportunity to try to think intelligently about the nature of my own work for a change.
Check it out here.
Illuxcon Posted on 11 Sep 2013
Here's the latest work - dark and light priestesses of the Order of the Inexplicable Headwrap, maintaining an uneasy balance. I'm slated for a couple of portfolio reviews this weekend, and this piece was created in hopes of filling the card-art-shaped hole in my portfolio.
Said portfolio reviews will be part of my trip to Illuxcon in Allentown, PA. I hadn't originally planned on attending, since my understanding is that the convention experience generally includes the three things I fear above all else (people, social interaction with people, and the light of day) but Marc and Lauren talked me into it and, admittedly, they always seem to know what they're talking about, so my bags are packed and I'm actually looking forward to it.
For anyone else who's attending, I'll be wandering the area Thursday through Sunday so feel free to flag me down and say hi. Better yet, if anyone waited until the last minute to make their reservations and ended up staying at the scenic Econo Lodge/Rodeway Inn (like me!) and wants to commiserate and/or share cab rides to the convention, shoot me an email.
New Work: Sword and Sorcery Posted on 01 Sep 2013
A magician, a thief, and a warrior. This illustration was based on some thumbnails I'd drawn for a "three cloaked men" fantasy cover brief during Marc & Lauren's Illustration 101 course. Since most of my class time was taken up with the first two projects, I never got past the thumbnails on the third brief; but, with some portfolio reviews from sci fi/fantasy art directors at Illuxcon looming and precious little relevant art in my portfolio, I thought it would be a worthwhile project to finish out.
(Top: the first round of thumbs; bottom: further compositional tweaking.)
Tutorial: Powdered Graphite Posted on 14 Aug 2013
I hate doing large areas of uniform pencil shading - it's not why I signed up to be an artist, and my fragile little wrists just aren't built for it. I'd been wanting to try out powdered graphite for a while, but since the local art supply store here in rural Maine only stocks wagon axles and tobacco, I never quite got around to acquiring any.
Enter the fantastic Kelley, who normally takes a cruel joy in showing me up with awesome art over at her website but, in a moment of pity, was kind enough to mail me a huge bag of the stuff just in time for a recent bout of pencil-based projects. I thought I'd document the process I used for the pencil/powdered graphite underdrawing for Full Blooded - an 11x14 piece with a lot of solid blacks that probably would have destroyed my hands if I'd had to pencil them all in normally.
General advice: this stuff is messy, travels far, and sticks to everything. Put your work surface on top of a drawing board, some newspaper, etc, and use a sheet of scrap paper under your drawing hand to keep your greasy hands off your nice drawing (and vice versa). You'll want to work top to bottom, left to right (if you're right-handed) to avoid accidentally over-blending your finished work.
1) Sketch in the outlines. You'll lose a lot of these in the shading process, so don't put too much time and energy into them - just give yourself a general guide to work with. I'm using a lightbox, and have my original sketch taped to the back of my working surface to limit the amount of invention I need to do. Mask off any areas (borders, important details) that need to be absolutely white. Sprinkle a tiny amount of graphite (really tiny - like less than 1/8 teaspoon) over your dark areas.
2) Use the edge of an index card to gently push the graphite around the paper for even coverage. Note that your "brushstrokes" will show, so you'll want to be consistent in the direction and angle you push the graphite. Here, I'm working in vertical lines.
3) Tap off the excess graphite, and use a large soft brush to brush away any residual powder. At this point, you can use a tissue or paper towel to rub the graphite into the paper and soften the directional strokes left by the index card. Note that your color is going to be a little bit blotchy at this stage - you just want to make sure that there are no extreme dark or light areas.
4) Use a soft pencil (a 5B shown here) to shade in the darkest tones of your sketch. I know, you thought you wouldn't have to do any pencil shading with this method. Bummer. Fortunately, you can do a pretty rough job here - the layer of graphite already on the paper makes the surface a little bit slippery, and rough pencil strokes won't cling to the paper the way they would if you applied them to a clean sheet. Just darken things up a little, keeping the direction of your lines more or less consistent.
5) Use a tissue to soften the pencil shading and blend it around the paper.
6) With a kneaded eraser, start to pick out the light areas of your drawing. If you pick up too much graphite and get a harsh white area you didn't want, you can blend in the surrounding graphite with a tissue.
7) Go back in with the pencil of your choice (I used the 5B again, along with an HB mechanical pencil for the sharp details) and start drawing in the shapes and edges of the final image.
8) Continue around the image in the same way - pulling out the lights with a kneaded eraser, and deepening the dark tones with pencil. As you can see, although I only applied the graphite powder to the upper third of the image, over the course of working on the drawing a thin layer of graphite has migrated all the way down the page, leaving an even, light overall tone to work from.
This all probably looks like just as much work as doing it all in pencil, but you'll have to take my word for it that it's quite a bit easier, less time consuming, and the results are generally better looking. I also like the softer effect that the powdered graphite gives, and how forgiving and reworkable it is compared to heavy pencil shading, which tends to gouge and flatten the surface of the paper.
Powdered graphite also served as the base for the upper half of Gaslight Dogs - and once again was a huge labor/time saver; this is probably going to become a permanent fixture in my process.