This lost a lot of its detail in the saving it seemed to me. But it's basically utilising the 'bevel/emboss' approach to quickly throw out abstract textures and then just work a bunch of shapes into it that creates an idea and a story. It certainly captures a mood. It's just whether I can effectively use this technique to solidify an existing idea or a specific brief. I'm intrigued enough to pursue it though...
I like these sketches. I signed up for another Learn Squared course. This time, Jama Jurabaev's Narrative Concept Art. This idea of throwing down abstract forms with a flat graphic brush really does open up your mind to find things you never would otherwise.
Once I was sufficiently warmed up and landed on one I kinda liked, I took it and developed it a little more. His texture lesson video wasn't working so I just did it anyway I know how.
It's cool. I could see how some of these very quick ideas could become a more detailed piece. I'm interested to see how else I could use some of his very useful tricks.
I was gonna contribute this to the monthly Character Design Challenge, but if I'm to obey the letter of the law, you can't use caricature, which I suppose this is really. Or at the very least an 'existing character'. This is based on Pam Grier's character in the 1974 blaxsploitation film The Arena.
Just fancied doing some character sketches. I noticed recently there's a gaping hole in my portfolio. I'll probably flit between characters and environments for a little while, and am keen to turn more of my imagery into storytelling art. It'd be nice to focus things a little.
I gotta be pleased with this one, and I suppose I am. Although the mistakes and problems will begin to reveal themselves to me almost immediately. I guess that's how you improve...
I returned to painting for the Virtual Plein Air group on facebook, and I took a different tact to recently illustrations. I ignored my obsession with getting the shapes and values and colours correct and instead just got stuck in and hoped that all the acquired knowledge would just sit there beneath the surface influencing my choices. It means I could also get something done much quicker.
I'm also starting to see value in contributing to a community of artists. I was inspired to paint this from the artists I saw producing incredible work that I wished to come close to.
Just a Daily Spitpaint that I didn't want to finish in a half hour, so just got lost in it.
Maybe I'll return to this again at some point to finish it, but I just lost the love. I wanted to create a 'concept art' style piece, mainly to bulk out my portfolio and also to apply what I've been learning recently to an imagined piece. Problem was, I had no concept to work to. I dragged something up from some old notebooks and settled on this.
Then there was the illustrative style I started working to and the fact that I had no deadline. Because I could work endlessly, I really started labouring over it and was determined to complete it in one consistent style that I'm currently inspired by. If I had been on a paid project I'd wrap it up quickly in whatever way got it done, and that would be the style.
As I say, I may return to this but for now it's just stuck in limbo.
This has to be one of my favourite films of recent years. The music grabbed me initially, but it's the mood that really sticks which is largely down to cinematographer Bruno Delbonnel.
I'd like to create a piece of concept art that captures this look of bleak Freewheelin' Bob Dylan style New York winters.
When I get to sketching, a familiar style continues to emerge with this rough sketchy line I find so attractive. My inclination is to want to clean and tidy things up, especially when it comes to an environment.
I also feel like I take ages over concept art images, but for this style to truly win over, it has to be captured quickly.
I've been learning loads about values and colour and all other kinds of technical guffery (not a word) recently that has definitely improved my work. I wonder if I was to work more rapidly again, like I always used to, how much has sunk in and will be evident. I kind of want to return to how I was creating artwork before I set off on this learning curve, to see what I look like now.
Ugh. This one wasn't even a labour of love, just labour. I didn't much like it from the off but felt it important to finish. I've always been of the mind that if you work and work at an image without any real joy, then the resultant image reflects just that. But I've been wrong before and when it's viewed objectively with fresh eyes by someone else it can be well received, so I persevered on this occasion nonetheless.
I've done three in a series of "Cardiff" studies now and will take a break as the repetition bores me. I fancy creating something not from real life. I always shy away from it, I don't know why. But I've been inspired by two fantastic artists recently at SPA Studios; Marcin Jakubowski and Szymon Biernacki. I'm sure I've got that kind of thing in my locker, but I never pull it out to play with. Come on!
I'll be honest, I'm quite pleased with how this turned out. I'll surely find fault looking back on it in a couple of days but that's the nature of things. Surprising how that final level of detail can really take an illustration from ok to good.
There's no hiding from the fact that this style is clearly influenced by Robh Ruppel, Alberto Mielgo and the like. But it's the style I love and have been looking to perfect for years. It's nice to put it to a illustration of my own, of a place I know and love.
The second in my series of Cardiff illustrations. Sketching on location allows me to capture the essence of the idea and the composition that a photograph alone can't. I also forced myself to work in as few tonal values as possible and to treat things with a graphic simplicity, reducing everything to symbols. I then take a bunch of photos that capture the changing light so I can really push the design when tackling the final illustration.
I then moved onto blocking out some very basic shapes and values. It meant fixing parts of the original sketch that weren't quite working and using some creative license to frame and balance things better, as well as bring it closer to the architecture of the actual building.
With the values and pixels locked, applying colour is a fairly simple process. It was then an exercise in detailing, ensuring that it retained it's graphic quality throughout. This means making design choices rather than simply copying from photos.
There will be one more final step which will help give it extra depth, texture and dimension. I'll have a final play around with light, shadows, colour and values to really push it just past reality, then it's done!
I plan to set up a little online shop selling illustrations. I'll start with five iconic Cardiff landmarks and take it from there.
Into a little period of downtime. Started looking at doing some Daily Spitpaint's again, but I couldn't be arsed with the 30 minute limit today, so this kinda happened instead.
I really like when images like this happen.
I'd been working most of the day on an enjoyable project, it ends quicker than expected and I sit in this limbo waiting on the next task. I'm relaxed, I have some good music on and I stumble across some great art, or in this case photography, a talent by the name of Hollie Fernando.
I paint without constraint, without intention. Just passing the time. This image seemed to capture my mood and in it is captured a little moment in time. Perfect.
Well, amazingly I've been working non-stop across several projects since my last post. In the interim I also had an audition to appear on a BBC painting competition show. It wasn't meant to be and is probably for the best (as I think it was burdened with an 'amateur' tag), but it has helped revitalise my passion for learning.
Last year I took Dice Tsutsumi & Robert Kondo's Schoolism painting course and took a lot from it. This time around I've chosen to taken on a course from Maciej Kuciara through Learn Squared. As was the case with the Tsutsumi/Kondo course, I suspect there'll be a lot that I already know but I'm particularly excited at the prospect of the 3D element - it's been something I've been meaning to learn for years but have never really felt compelled to like I do now.
Added to which, going over fundamental principles and working through them as 'homework' is great practice and helps gives me confidence in the work I'm doing. These early sketches are 20 minutes each and aim to serve the express purpose of starting a dialogue when presented to an Art Director for example. These are simply two sketches chosen more or less at random from examples of ancient Greek architecture.
I plan to work my way through the course over the coming months whenever my schedule allows. I'm looking forward to it...
I genuinely dislike this as an image. Not simply because it's quite a dark subject matter (the Spitpaint theme was "Together for life"), but because it's oversaturated and the shapes are all washy and ill-conceived.
But this is precisely the point I guess. Some days (a lot of days!), you're just having a bad art day. You can't see things well or execute them nicely. But you create it nonetheless because you just have to keep doing it in order to improve. With any luck, a bit of hindsight on this should reveal what a massive pair of pants it is.
And with the post below in mind, I turned to a Random Idea Generator. This gave me "Butter Gang". I still worked to 30 minutes and whilst this character would need an extended development stage (if it were for an advert for example), it's precisely this strict time limit that forces you into making design decisions quickly.
I imagined he would be more melty and pathetic looking to begin with so it could certainly be improved, but it's a great way to get ideas down and flex those creative muscles all the same.
Well, I would guess that if the initial response from the facebook group is anything to go by, this is likely to be my most successful Spitpaint yet (11 in the first minute). And if that is anything to go by, perhaps I should lean back towards character design for a while.
Amazing what you can achieve in half an hour in terms of character design...
I can't legitimately post this to the Daily Spitpaint group as it took me longer than the designated 30 minutes. It seems a lot of the posts to that particular group bend the rules a touch so I've lost faith in it somewhat. I still like the idea though.
This one was "Virtual Sport Championships". It was thrown down with the very least amount of thought, almost like a stream of consciousness painting. It's got the seed of a decent idea but isn't as clear as I might like.
Either way, it was fun to do.
Daily Spitpaint, "Ice cone". Very blue and heavily saturated. Feel like the levels could be more contrasted around the flat areas outside of the cone to imply more heavy snowfall perhaps. Also, the perspective of the cone could've been worked at to give it more of a sense of doom and grandeur.
I also deleted a house in the bottom left. It was useful to help balance the composition and give it more depth and intrigue but I didn't have time to make it work before the 30 minute deadline, so it went altogether.