I like how this one turned out. I wanted the cyborg/robot to appear somewhat damaged and unsure of itself. I think that was captured with some of the erratic shading and effects. I wanted less explicit detail as well, so a lot of the parts are suggested. I kept the color pallet simple so it would look more like splashes of paint or brands then the actual color of the android.
I put a lot of work in making the frame. I’m not very good at frames but I recognize how important they are for T-shirts. A lot of my work is too complicated to put on a shirt and the frame helps simplify it so it can be printed on different colors of shirts.
Bit of a splatter portrait with composite elements. I wanted to set up a cool illusion with the main portrait sharing eyes with the inked figures and I think it turned out pretty interesting. Not too much to say, I think some of my blending got sloppy but the lips turned out very well (I very often struggle with hyper realism in lips).
Anyway, the workflow was more straightforward than it probably looks. I sketched the face on watercolor paper in ink, did some basic shading to paint over. I was heavier in the areas with less detail to draw focus to the eyes and mouth. Did a lot of basic splatter effects around the edges of the face, then painted the skin. After that I blended the components and added the red splash, the buildings, comic book photos, and clouds composite style. Blended those and finished up.
A mixed media painting on cold-press. Ink, watercolor, and photo-manipulation for the geometric overlay of the ink-splatter. The face near the middle connected to the smoke is actually a portrait I did when I was first getting into digital and mixed media. It saved me a lot of time to use that and I think it looks pretty interesting.
copr Blu-Art 2018, all rights reserved.
Phew. Been working on this one for a few months. A put out a smaller version a while back, then realized it had more potential. So I added, a lot. And made it huge. I’m proud of it. There’s a lot of little details that are easy to miss, especially when it’s shrunk down like this. (If you can find the negative space crab, I’ll be impressed.
I still need to clean up a few things (especially the lips and the transition to the waterfall). But I think it’s on track to be one of my most complex pieces.
94×73 inch digital painting
copr Blu-art and Arktic-ink 2018, all rights reserved.
Really starting to fall in love with Photoshop as a medium. Whatever is in your head…just make it happen.
Flowers where your face should be
Note: While not all of these are watermarked, they are copy righted (copr Blu-art 2018). If you’d like to use any of them, just ask first and I’ll likely say yes and provide a full resolution version.
One of the bigger projects I’ve been working on.
40×60 inches multimedia character portrait.
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.
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/
For a texture based drawing like this, you kind of have to know what you’re going for, then accept that the result probably won’t look the way you think it will. I wanted to do a portrait of a character I’d already drawn, which is actually harder than drawing a new character, because you can’t just wing the features.
Step 1 (about five hours): Yes, texture drawings without blending are terrifying. I molded the textures I wanted to use into the correct shape then did some rudimentary blending and erasing out places for the drawn and more detailed parts of her face. There are some brush strokes here, but they are suggestive and serve mostly as a framework or placeholder for what is to come.
Step 2 (about six hours): Drew the majority of the important bits in. Most notably the first few layers of the nose, lips, teeth, hair and sweatshirt.
Step 3 (around eight hours): I should have taken more pictures in between for this step, but it was a lot of drawing and redrawing to get the eyes to blend into the texture and create that cracked illusion. I did a lot of work on the skin and actually retextured a few areas to get it to work better. I did most of the skins texture in a fence brush (splatter blending style).
Most of the time spent was noticing little issues in light room and going back in to fix them a good seven-nine times.
It ended up looking entirely different then what I’d pictured, but I like it a lot. Came in at only forty layers which is good, because it means I’ve gotten more efficient at reducing extraneous layers that make it needlessly complex to manage and edit.
Moving forward I want to look into re-balancing the darker marks on the right cheek, as they are too dark right now and are flattening the implied positioning of the cheek.
Canvas: 28.639×42.889 inches
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.
Going back to my roots a little bit. I’ve felt like I’ve been relying on color a little too much to fix contour and compositional issues, so I wanted to practice some pure black and white. I messed up the nose pretty bad, but I’m happy with the hand and how the jackets texture turned out!
Been writing a lot and loving it. Need to focus more on Organic chem 2, but I’m sure I’ll strike a better balance.