Bathtime for The Kraken! From the CRYPTIDS OF 2013 wall calendar.
Monday, December 17, 2012
Friday, December 14, 2012
Thursday, December 13, 2012
Wednesday, December 5, 2012
Here come the CRYPTIDS OF 2013! This delightful calendar features old favorites like Sasquatch and the Yeti, as well as mysterious critters you may not have heard of (such as the man-eating tree, Yataveo). I've rounded up these hidden beasties from around the world to pose together for the first time. A deliriously quirky addition to your wall in the coming year.
Tuesday, July 17, 2012
Monday, July 16, 2012
Tuesday, July 10, 2012
Monday, July 9, 2012
This is the episode near the beginning of the novel in which the village priest Pedro Perez burns all of Quixote's books. I designed the character to look a bit like Nino de Guevara, who was the Spanish Grand Inquisitor during Cervantes' life. I emphasized the reflection on his glasses to suggest a lack of true vision.
Friday, July 6, 2012
Thursday, July 5, 2012
Wednesday, July 4, 2012
I thought this one went pretty well for 90 minutes. I used a limited palette of only two colors: Yellow Ochre and Cadmium Red (and black and white). So two or four, depending on how you count them. The Anders Zorn palette.
The fun and surprising thing about this limited palette is that a cool gray becomes bluish in context of the other colors, and mixing some ochre into that gray turns it into a nice olive green. So you have a wider range than you might think, but you have to be creative.
Tuesday, July 3, 2012
Monday, June 25, 2012
Friday, June 22, 2012
Wednesday, June 20, 2012
Tuesday, June 19, 2012
Monday, June 18, 2012
Tuesday, June 12, 2012
I've had five little 5" x 7" canvases sitting in my studio for a while, waiting for me to do something with them. So Sunday afternoon, we played together.
Painting clouds is a fun way to experiment with near-abstraction. It's nice to play with color, composition, and form on their own. Each piece has it's own mood and it's own aims, but I like the way the five of these work together as a group.
Because I had five canvases, I began thinking of (and listening to) one of my favorite five-movement symphonies--Mahler's 7th. I tried to capture some of enigmatic qualities of the music; the strange leaps between absurdity and mystery.
Wednesday, June 6, 2012
I love seeing other artists' processes, so I like to share my own now and then. I've been using these Don Quixote pieces as a way to explore/experiment with my working methods, which have become more and more a mix of digital and traditional approaches.
the chapter I intend to illustrate and making some notes, character sketches, and thumbnail composition sketches, I drew this sketch. Just pencil in my sketchbook. I scanned it at a high resolution and began to play with it in Photoshop.
The undead knight who is reclining with the cards is based on a sepulchral effigy from 1500s Spain.
Next, I added a paper texture I scanned years ago. This gives the image an old-fashioned, natural feel. I used a multiply layer.
Now that I have my sketch and a basic texture, I'm ready to start with the background. I tried a few different colors for the sky (one of the luxuries of digital work!), and settled on this green because I felt it gave the picture an eerie, off-kilter feel. The architecture of the castle is based on medieval/Renaissance buildings from Spain (the setting of the novel). Throughout Don Quixote, the Moorish culture is referenced, so I thought an allusion to that in the architecture would be fitting here. At the time the book was written, the Moors (Muslims) and Jews had recently been expelled from Spain.
With the background more or less in place, I painted a block of shade to create my basic value structure. I wanted the figures to be in shadow, almost silhouettes when you squint, and the background to be brightly lit.
I added a couple layers (multiply) of shadow to establish some of the basic modeling of the figures.
Next, I began to work out the local color of the figures and their costumes, and continued to build up layers of light and shade.
I finished modeling the figures, and then added a few more layers (multiply) of shadow to deepen and reassert my value structure, which had begun to become lost in the modeling of the figures. I also wanted this area to be warmer, so I used a sepia/orange color.
The painting portion is pretty much complete now, so I drew a new layer of lines. I'm essentially creating an ink drawing over the image at this point. But it's digital.
Another texture element I worked with here can be seen above. I imported a texture dot pattern--it's a piece of gray film stock scanned at high resolution. When used as an "overlay" layer it creates a nice, subtle, dot-grain effect. If you click on the above image to see it larger, you can see more clearly how this grain pattern helps the modeled layers look more natural. The original image is on the left, while the image on the right has the grain overlay.
In total, there are some 50-60 layers of color and texture in this image.
My last step is simply to clean up the edges, outline the box and sign it. All done!
I hope this was helpful to someone--I learn a lot from seeing how others work! My digital methods are probably not the most advanced out there, but I'm enjoying the exploration.
Part of my ongoing Don Quixote series (my favorite book). This is the Cave of Montesinos episode (Book Two, Chapter 23), one of the more surreal scenes in the novel.
In this chapter, Quixote bravely descends alone into a magical cave in which he finds a crystal palace housing an undead knight and a Moorish lady who safeguards his mummified heart. Among other bizarre things. Is it all a dream? Maybe.
In the entire chapter, the undead knight utters only one sentence: "Patience, and shuffle the cards." I've always loved that cryptic line.