Painting for my Cousin’s birthday – Taurus

He’s a weight-lifter who just won state in power-lifting. He’s also a Taurus so I decided to continue the zodiac project which I’d been putting off.

Taurus.png

So my goal was to give the piece a heavy handed impact and a strong center focus, with the eyes being the most rendered bits. Been experimenting with more impressionistic and suggestive styles for skin facial structure. I think the varied texture and coloring of the skin and the blob of black with little bits of brown that suggest curly hair turned out well. The backgrounds a little meh, but I wanted the focus to go straight to the blue/purple eyes. The horn and shattered stone cow represent Taurus and the traits associated.

To me, it looks a lot like a traditional portrait for Scorpio I did four or five months ago: cropped-determination41.jpg

copr Blu-Art 2018

The theory and direction here was very similar, except it’s in watercolor and pen.

It’s crazy to think I’ve only just started my transition to digital art a few months ago, and I’m really proud of the progress I’ve made. I feel myself getting to the point where I can translate my traditional art style to my digital work in a much more fluid manner. When I first tried out digital drawing I was discouraged because everything felt disconnected. It felt like I wasn’t really building off of old skills, just learning something new. Now it feels like I’m slowly combining the two into something uniquely me.

Beyond the fact that this drawing was for someone close, it is important to me because it made me realize where I want to take my art and style as a whole. That’s something I’ve been trying to figure out for a long time, too.

 

Cheers,

Blu

Space Man – Artwork + Steps

I took steps this time!

I FINALLY REMEMBERED. I always forget, because there’s around eight pieces I don’t finish for everyone I do so the early steps often are done in a single file because it feels low risk still. The farther along I get the more backups I make so yeah.

This was about four hours in, a lot of plain splatter blocks from the under painting are still visible.

Astro-Soldier1stt.png

 

Another thirty minutes or so, finished up the right arm and attached the NASA insignia. (This is modeled off of a NASA photograph). Also did a lot of work on the reflection base. Moved the blacks out a little to start placing the mid-tones of the background. I do this so I know where to fit the composites in while maintaining a compositional balance. It also gave me space to draw in the blurred bits of the ship and suit being torn off which I think ended up pretty cool.

Astro-Soldier1st

 

About three hours of filling in the blanks, decided on the darker background for both sides. The right side is meant to have a ship, but I realized I probably couldn’t draw it right or composite anything in with that much light. Also it wasn’t all that compositionally balanced. Astro-Soldier

 

About five hours, added composite 1 (links to free image are at bottom) Astro-Soldier3

 

Like thirty minutes, just did some reflection work and added more blood splatter detail. Darkened scaffolding. Got rid of the mouthpiece because it wasn’t cooperating with the glass composite (links at bottom). Astro-Soldier6

 

Couldn’t decide between red and purple so I duplicated the layer and used both lol. Astro-Soldier10

 

Another few hours of little details. I think the blood might be too bright with the anti gravity. Spent a lot of time on it but it’s meh. Astro-Soldiercopr

copr Blu-Art 2018, copr Arctic-Ink 2018

 

A space-man who met an unfortunate end doing what he loved. Rest in peace Space-man.

Overall this was really fun. Working with the texture brushes to get the space suit done was really challenging and engaging. I left the hands out because I wanted some of the under painting to survive and because I can’t draw gloves (I’ve been working on clothes really hard but like hands did, gloves seem to allude me). I did try a few times but I was like, this looks cooler without the gloves anyway. I also wanted the most in focus part to be the helmet, so everything else was left pretty stylistic while I hyper rendered the helmet with composite work.

 

Free stock:

Photo by Wenniel Lun on Unsplash    (coloration of helmet glass)
Photo by Alexander Andrews on Unsplash    (Blurred out background and stars)
Photo by Mink Mingle on Unsplash    (Used for emissive light bokeh)

 

PS: This design is available through Design by Humans here: https://www.designbyhumans.com/shop/t-shirt/men/space-man/900404/

 

____________________________________________________________________________________________

My Portfolio: https://arctic-ink.myportfolio.com/

My Deviant Art: https://arctic-ink.deviantart.com/

My Design by Humans shop: https://www.designbyhumans.com/shop/ArcticInk/

2

Rapture Virus – Digital painting (Fixed)

A scary man with a book told me it’s coming. Not looking forward to it, though. He doesn’t think I’ll be invited to the party.

😦

45×67 inch canvas digital painting/composite

Sophiedeath.png

Copr Blu Art 2018 all rights reserved

PS: A friend notified me that the original post lead to an error. Not sure why this happened so I took it down. But I also liked this drawing so I didn’t want to leave it down, so I’m sorry for any spamming. 

-Blu ❤

 

____________________________________________________________________________________________

My Portfolio: https://arctic-ink.myportfolio.com/

My Deviant Art: https://arctic-ink.deviantart.com/

My Design by Humans shop: https://www.designbyhumans.com/shop/ArcticInk/

2

Winter – Artwork + Updates

One of the bigger projects I’ve been working on.

40×60 inches multimedia character portrait.

Watermage_mainprojectversion10-3

I really like how it turned out.

In other news I submitted my portfolio to ‘Design by Humans’ which is a company that partners with artists from all over the world to print designs on clothing, mugs, phone cases and more. I didn’t really expect to get accepted, so it was a nice surprise when I got the email today and was able to set up my shop.

This particular design is the only thing I’ve set up so far, but there will be more to come after I make it through finals (probably in one piece…hopefully).

Anyway, all the links to that kind of stuff will be at the bottom of the art posts from now on to keep things organized.

Cheers,

Blu

____________________________________________________________________________________________

My Portfolio: https://arctic-ink.myportfolio.com/

My Deviant Art: https://arctic-ink.deviantart.com/

My Design by Humans shop: https://www.designbyhumans.com/shop/ArcticInk/

2

Love Kills – Artwork

This was deceptively complicated to figure out and structure. I struggled quite a lot with making the face not derpy and even tried out using fur textures. Ended up running the opposite way and killing most of the detail on the wolf person to draw focus to the emissive window I put together (as it was much cleaner and ultimately more interesting).

 

Love hurts4

Flowers where your Face should be – Artwork

Back to using leaves as canvases. I’ve decided I rather like leaves! They are plain enough to put things on but unique looking enough to effect whatever you put on them.

Flowers where your face should be13

 

I’ve got a lot of random art coming the next few days. Been holed up for a good week or two now just focusing on getting better. A major goal has been to get better at clothes, which I think I have. No clothes here but the next five or so have clothes.

Poster Challenge: Fighting for nothing

Full composite poster using free assets from a limited pool and color pallet (a color and it’s opposite alongside black and white). I chose red and green so I could dip into ochre and pale whites for the skin and hair:

Alec4

I like how it turned out. It’s a little rushed but I’ll clean it up at some point XD.

I blended down an elephants face on the arm to make that scaling and leathery effect. The stuff coming out from behind his is a mixture of recolored clouds and underwater bubbles. I used text function to make the command prompt look on his face and hands. I did a lot of dynamic lighting to make the base image blend better. I recolored the eyes (because that’s fun for me) to a grey-green and used paint to suggest face-paint.

 

How I draw eyes (at x25 zoom!)

Eyes are usually my favorite or one of my favorite parts of doing a drawing. I’ve spent a good deal of time lately wondering how to work them into my more realistic drawings. Realistic eyes are actually rather simple compared to not realistic eyes. I started out doing realistic eyes, which are darker and not all that interesting but decided if something was going to be unrealistic, the eyes were good candidates. So I had fun with it and tried a new technique:

2

I basically just treated it like there was a floodlight shining in and the cornea was lit up. It ended up looking graphic and decent enough to keep.

 

Moving forward I decided to go for well-lit but also more realistic. So I made the texture in it’s own PSD at a higher resolution. The only issue is that it ended up looking more realistic than the other bits (way too realistic, it’s actually a little creepy zoomed in like this). In the context of this drawing, where the eyes are a focus, that’s fine, but it’s not something I can apply to everything so I decided to blend the realism a little more:

3

 

Being able to start with the eye in the beginning really helped this one. It’s much less imposed on the eye ball. I did play it a little safe and the eye isn’t actually very detailed this time, but I think it fits this drawing nicely:

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This one I think turned out the best. I used a higher res file to make the eye then superimposed it. Here, it feels less out of place. The shading and makeup are a little blurry, but they aren’t blow out. So the lighting at least sort of matches the overlit and hyper rendered eye:

1

 

For technique here, you kinda have to play it by the ey…ear. Uh…basically just make concentric circles of a similar shades of whatever color you want it to be. I always make the middle brightest and get darker as I go out. These are pixel drawings, so if you have vector software, it’d be easier to pull off. That said I’m so used to shading pixels that it doesn’t really bother me. The light source on these eyes don’t match the light source of the drawing, and I think the drawings are actually better for it. I’ve kinda been learning over the past few weeks that realism isn’t always better.

Digital Painting/Composite

Canvas: 28.639×42.889 inches

HadleyPortraitCR

I do apologize for the watermarks, but this is one of those images I prefer to protect, very proud of how it turned out.

Technique: I really enjoy this new style of integrating reality via composites into drawings then blending and drawing over the two layers to combine them. Time consuming but you get some really cool and realistic effects.

The background is largely done in a suggestive and texture based way. The detail is mostly implied. For instance the trees, like the hair, are solid blacks aside from the three rain layers. I just thinned out the rain on the closer trees to imply distance without having to detail or shade anything. Similarly the leaves in the trees were just a large textured brush with variants of red and pink, then just picked out a few spots to erase and imply light poking through.

The meat of the drawing is the porcelain or rocky kind of glimmering detail I did on the face as well as the splatter art and layering. The face itself is fifty layers, three of which are variations of the bare-bones sketch and shading. Essentially, it was a matter of replacing the facial structure and bones with different textures and effects. Everything under the zygomatic process (kinda part of the cheek bone) is meant to appear skeletal, like the skin was shattered, while the parts above remained in tact with some splintering or cracking. Fun fact, all the light ochre tones and complexion of the skin was done with a brush .abr shaped like a fence. It’s only really obvious in the crook of the nose, but that layer has about forty percent of the complexion in it.

Composites (the “real” parts of the piece): There are five notable composites in the image: The forest floor has real leaves and rocks over the red and painted textures. About half the gears in the face are from a licensed image off adobe stock of a mechanical watch face, the others were drawn or altered to blend behind the face and remove the glassy and bright appearance of the watch. The third is the texture on the eye, which was pulled from an actual eye. The little pebbles under the broken away skin near the nose come from a picture of broken concrete I took with my Iphone here on campus. Finally the smoke comes from a superimposed 3d object file (via autodesk’s Maya). It was originally a wallpaper that I beat into almost nothing then added for an emissive lighting effect.

Where to improve: The ends of the hair on the protected parts of the drawing (where the strands are over the face itself) are fine, but the light-source literally blew out half of the detailing on the top of the head and the ends sticking out without me noticing until it was too late. So I need to draw those in a multiply layer, which won’t be too difficult. The reason I use matte black hair, by the way, is the fact you don’t need to shade it like at all. You just need to contour the ends. I’m not good enough at hair to make blonde or brown work, it’d end up looking too drawn so I just stuck to inky black with some of the rain pouring over it.