Friday, September 16, 2011
Here's a peek at the early stages of my opaque painting process. While these colors are still fairly transparent, they're thicker and more purposeful than what I did in the under painting.
I prefer to determine my darkest areas in a painting early on, so that's where I tend to start my attack. Once I'd gotten the base bright pink color placed in the sky, I started darkening up the stone archway around our evil siren.
While the arch will be pretty dark both above and below the water, I still want to maintain a difference in warmth and coolness between each side of the surface. To do this, I've used a dark brown for the stone above the water (warm) and a dark blue for the stone below it (cool).
Lastly for today, I've begun laying in the darkest parts of the hidden sea beastie. Along with the gaping maw of his hungry mouth and his eerie pupils, I've also started to darken the linework on him. I'll do this throughout the piece, in a manner that's similar to inking with a brush. This process helps me keep my drawing strong, while I build up layers of paint.
From here on out, I really just have to dive in and paint like a fiend. A lot of thought and consideration goes into taking the piece from this to its completion. But with the right music and mood, those conscious thoughts will fall into the background. When I'm really on a roll, I'll detach myself from the process... almost like I'm watching myself paint. And that's the Jedi trance action I'm aiming for.
That's all for this week! Tune in on Monday for more Alphabet Attack!
"What I do? I called up the Geto Boys crew, 'cause my mind's playing tricks on me too!"
Wednesday, September 14, 2011
The next stage of "Coral Carnivore" is one of my personal favorites -- the under painting! This is the point where I really begin developing the chroma (color) and value (light & dark) tones of a painting. With this piece, I went about this using thin layers of paint and a spoonful of spontaneity.
Under painting is like live art for me, in that I rely mostly on creative instinct -- I let the beast take hold and attack the canvas in a flurry. By doing so, I'm able to accomplish a lot of spontaneous, bold mark-making. Since this layer will inevitably be glazed over with more opaque layers of paint, there's a lot of freedom in how I apply the color. I've found that this helps me create bold marks that I wouldn't have made otherwise, especially during the more tedious painting steps to come.
Now that I'm beyond the drawing stage, I've also begun working out the puzzle of painting coral. Coral itself is an otherworldly, colorful sea creature. And it comes in all shapes and sizes. Rather than draw it first, I'm relying totally on texture and brush strokes to bring it to life. The spontaneity here is extremely helpful in conveying the alien landscape look of coral. But I'll have to maintain my sense of design & draftsmanship as I take it to completion. I'm not out of the woods yet....
Keep an eye out for the more developed painting stages of "Coral Carnivore," at the end of this week!
"You bring the ladies and I'll bring the brew! Oh shit, anotha' barbeque!"
- King Gum
Monday, September 12, 2011
As you can see, Step Two of "Coral Carnivore" involved going from the initial sketch to a finished drawing. At first, I was reluctant to do a complete redraw for this piece. Maybe it was a pang of laziness, but I was so in love with the sketch (see last Thursday's post), that I almost didn't see the point in recreating that image from scratch. But in the end, I harnessed my weekend work ethic and channeled it into this finalized drawing.
The core elements here are essentially the same as in the sketch. I've tweaked the devilish siren a bit, and added some extra details to her toothy lower half.
I also added a stone archway to the scene, further emphasizing the fact that this beastie is lurking in a shallow cove. I've actually been to places like this, along the California coast. They are truly gorgeous, awe-inspiring scenes. I highly recommend visiting the ocean, as often as possible. There's nothing like standing next to a force of nature that's loaded with mystery, unseen creatures and corpses. It's beautiful and frightening, all at the same time.
Lastly, I found a strange satisfaction in taking the time to redraw this piece. A lot of Classical painters and 20th Century illustrators whose work I admire would endure the rigorous task of creating preliminary drawings, before ever touching the canvas. Some would even create whole paintings, just to work out the kinks in their plan for what would be the real finished piece.
That's something I've always wanted to incorporate in my work. I know it doesn't really jive with our push-button, instant gratification society. But it felt amazing taking the extra time to push myself from an already satisfactory drawing, and on to something that reached for even higher ground.
Stay tuned this week for the next steps of "Coral Carnivore!"
"I'm in the cube & I'm deep in the toilet! Way down deep where no good shit gets started!"
Thursday, September 8, 2011
The Letter C stands for "Coral Carnivore." This one popped into my head at random, and immediately brought Sea Monsters to mind. Specifically, those devilish creatures known as "sirens!"
For the concept drawing above, I just jumped right in with a dark black pencil. I quickly drew a light gesture, in about 3 minutes max. Then I began to finesse the darker, fine lines out of the piece.
Here, we have an aquatic siren who, like mermaids, is notorious for leading many a sailor to a watery grave. Siren lore I'm familiar with sometimes describes these fathom phantoms as lures... attractive bait attached to a toothy behemoth ambush predator that's lurking just below the sea. Hence the bruiser tucked underneath our scaly lady.
I do like the concept of the sexy siren who -- though beautiful and alluring above the ocean's surface -- is a gruesome killer below the water. You may notice that the hand she's dipping into the tide is sharper and more monstrous than her other hands. In the final piece, I want to convey the idea that she looks completely different when viewed underwater... as if her strange beauty up above is just a trick of the light.
And of course, her having four arms is a creepy cherry atop the spooky sundae.
Tune in tomorrow, as I dig into the full-blown illustration!
"This is the sound of what you don't know killing you. This is the sound of what you don't believe -- still true."
Wednesday, September 7, 2011
At last, here's the finished painting for "Bigot Brutality." I had to scramble to get this done in between other work (and I do mean scramble!). But it was a fun exercise in acrylic glazes, for me.
Much like "Almost Anonymous," the approach on this was relatively traditional. I laid down light washes, slowly building up my under-painting. And as things got more developed, the more opaquely I started to paint. There's actually a ton of transparency in this piece.
The odd thing about fine art illustration is that it's much more subjective to mood and artsy musings than say, a random freelance job. I can't tell you how many times I found myself gazing thoughtfully out the studio window, glass of bourbon in hand, pondering the volatile nature of race relations and acrylic paint....
Tune in tomorrow for the start of my illustration for The Letter C - "Coral Carnivore!"
"No rapper can rap quite like I can! I'll take a musclebound man and put his face in the sand!"