I wanted to focus more on the emotional side of the textures and colors for this one, so I obscured the subjects face with a smoky effect and worked his form into the body of the painting. I wanted all the transitions and blending to feel really natural and for lack of a better term, ‘two-dimensional’. Even with all the layers I think I largly accomplished that goal while keeping a lot of the shapes and contour interesting/engaging for those who want to take a closer work. The text is in Greek and Latin and deals with concepts of addiction, hence the name.
I think the interplay between the cross hatching and low opacity shapes created a futuristic sort of vibe that I kind of liked paired with the theme.
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.
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.
A collaboration project with an old art buddy of mine. Been working on it over the past month or so and I think it’s coming along nicely. It’s primarily a digital painting but there are composite elements in the largest flower and the famous building I’ve forgotten the name of (both were free photos from unsplash.com that we reworked into the composition). The subject was also based on a photo which I masked over and painted/re-textured. That’s essentially the equivalent of tracing something, but it is still painted and I think she turned out well.
copr Blu-art and Kochre.
I moved away here from my normal hyper-textured/realistic style primarily because there isn’t enough skin to make it work. Most of the composition was just black…so we worked in little Easter eggs from the story.
I’m especially proud of the eye re-texturing I did specifically for this piece.
Here’s a closeup of the most recent addition. There’s some smoothing out to do still, but I’m rather fond of how it turned out.
Here is a close-up of the hands alongside a few of the more complex transitions:
I know it seems needlessly bloody, but the character depicted loses a finger during the act this heads, which is what it references. Furthermore, I did a questionable job on repainting the contour of the hand and messed up the skin color a little. The blood helps cover up the mediocrity.
The artwork displayed here is copyrighted and not available for any type of reproduction without explicit written permission from me. I’m pretty open to letting people use stuff as long as they pass along credit, so don’t be afraid to ask!
For me, if I don’t have an overarching goal, ambition, or thing that seems impossible to work towards; I go a little crazy. My mind is active and it’s like it creates internal problems that I have to solve but probably can’t because they’re ill-defined and not as pressing or relevant as they seem. Most would call this sort of experience anxiety, and I tend to agree. These go away when I have something huge to work on. My books, an ambitious art project, pouring my everything into my classes. I need to outrun myself.
I think the need to be improving, the need to not waste time is important. But it’s hurt every relationship I’ve tried to have or cultivate. Friends are easy to fit in but close friends and my ex’s all end up realizing I can’t relax. I can’t do leisure. I can’t make time for them when I’ve already scheduled out my day with thirty hours worth of hard work. And if I did there’s no guarantee they’ll like what they see. Anxious.
I’m overbooked, all the time…but I like that. It’s the only way I sleep. I need it, otherwise my mind goes back to torturing me and convincing me all these little problems and all the stuff from my past still matters when it doesn’t. It’s all or nothing with people, and it’s not right to make anyone my project, so they stay at arms length and I hope they don’t mind that I need to plow ahead with my passions. Regret never helped a soul and I’ve already learned from those mistakes. I don’t have a time machine, so I need to keep my eye on ‘what’s next’. Perpetually.
Having recently completed the general and rough manuscript for Butterfly Gate and passing it off to a trusted editor, I suddenly have time to work on my other stories and art projects. Re-reading and editing the same 460 page story three times within a week is hard work, but also really engaging and fun for me.
So this week (Spring Break!) has been all about planning new art for my other work-in-progress Saving Hadley and tackling a new arc. I also had time on the side to start writing my third project, Wall-Spider in a more serious capacity. As soon as I finished the rough short story (now chapter one of Wall-Spider) I knew I wanted to take it farther, but I already had a few engulfing projects. It was great to really delve into developing a new book, and infinitely less stressful than the first two times.
It’s a little mind-blowing and encouraging how visible the improvement has been. I started by re-working the short story. It wasn’t bad, but it wasn’t up to my current standards or style, so I improved the flow and counter-play between the first and third person narration. Then, having a good six months of ideas and notes about where I wanted to take it, barfed out a cool sixty pages, which was a new record for me.
But there’s other clerical work I do when I approach a novel. Part of that was taking the art I’ve already done for Wall-Spider and reworking it.
The main challenge was retroactively fixing the perspective issues with the first sketch. Then I drew as realistic of a padded cell backing as I could in Photoshop. The rest was simple lighting.
Obviously there are still some lighting and perspective issues, but I felt good about it for a simple three-hour session. One of the main takeaways from this for me is to really spend more time planning perspective. Messing up the two-point as badly as I did on a drawing that was otherwise very solid and emotionally personal/important to who I am was a little silly. I could have avoided the issue by spending two minutes with a compass to measure the two-point, but I free-handed the lines and rolled with it.