Saturday, 17 March 2012
Thursday, 15 March 2012
-by Eric Fortune
Hi Eric,
Your work has been a great influence on me ever since I started painting with acrylic washes. As an art student, I have been exploring a lot of possibilities with materials and techniques. There are just something I can't figure out myself even with extensive research and practice. Without a doubt, it is still my responsibility to figure out my own process. However, it would be very helpful if you could help me answer a few questions. I have been struggling with these problems for a long time already, but haven't found a right solution or person to ask. I sincerely hope you can help me out or guide me to the right direction.
1. For an under-drawing, using graphite, do you seal it with fixative before painting your washes? Or are your graphite done with hard pencils and does not bleed when washes are applied?
I do my final drawing and usually some shading with graphite. After applying my first light wash of acrylic over the entire painting and letting it dry the graphite is usually pretty sealed up. I don’t have too much of a problem with the graphite smearing on the first wash even with a 2b/3b pencil. If you are getting some smudging I would try a harder lead.
2. In such respect, how does a black monotone under-drawing affect the colors on top? Artists like Alex Ross makes use of this aspect quite significantly. Traditionally, blacks are frowned upon, but many illustrators make use of it as a underlying value to paint over.
I think using black as black and for darkening certain colors are fine. However, when you use black to darken certain colors it may not turn out to be the color you want. For example if you’re rendering a yellow object the color will probably shift towards a more intense and warmer yellow before entering the more neutral shadow area. Adding black to yellow will not warm it up. It will most likely give you a somewhat greenish tint. So using black can be fine just make sure that you are getting the color you want before applying it to your painting. Using a test sheet will help to see what the paint looks like on paper prior to using it on your actual painting.
Doing a black/gray under painting may also work fine. But again be aware of the color intensity that you are going for in the end. If you’re painting transparently remember that colors have their own inherent value and therefore may not need much of an under painting. Red is a great example of a very intense and inherently dark color. I would probably keep the under painting more focused on the core shadow areas where the values are the darkest.
Of course don’t forget to have good photo reference and a color study prior to starting on the final painting.
3. Do you find a need for an under-painting with black and grays after your graphite layer? Will this process be considered unnecessary since it is basically doing the same thing?
It depends. Often graphite shading on a white page looks dark enough, but when seen next to some dark paint it may not be as dark as needed. After my graphite shading and initial acrylic wash I usually go straight to whatever color is required.
4. As a student or even working illustrator, how do you manage with the extra amount of time that is required for layers to build up with acrylic washes?
The amount of time allowed for the project will help to dictate size and complexity of the work. So if a job has a quick turn around it may not be the best time to paint the largest or most complex painting you’ve ever done. Most printed images are not very large. So most paintings can be done at a manageable size. Of course this depends on the artist as well. Some artists can do amazing paintings at a large scale over night. Unfortunately, I’m not one of those guys.
5. Artists who work similar to your style use watercolor along with acrylic. Do you think it is necessary in order to capture an extra sense of transparency or are acrylic washes enough? Is air-brush another viable option?
I think it’s personal preference at this point. Each medium has different characteristics. I use acrylic. However, I don’t think using one over the other is a necessary choice. Plenty of great artists use mixed mediums. As for airbrushing I don’t have any experience using it so I’m not the best person to ask.
Hope that helps.
Your work has been a great influence on me ever since I started painting with acrylic washes. As an art student, I have been exploring a lot of possibilities with materials and techniques. There are just something I can't figure out myself even with extensive research and practice. Without a doubt, it is still my responsibility to figure out my own process. However, it would be very helpful if you could help me answer a few questions. I have been struggling with these problems for a long time already, but haven't found a right solution or person to ask. I sincerely hope you can help me out or guide me to the right direction.
1. For an under-drawing, using graphite, do you seal it with fixative before painting your washes? Or are your graphite done with hard pencils and does not bleed when washes are applied?
I do my final drawing and usually some shading with graphite. After applying my first light wash of acrylic over the entire painting and letting it dry the graphite is usually pretty sealed up. I don’t have too much of a problem with the graphite smearing on the first wash even with a 2b/3b pencil. If you are getting some smudging I would try a harder lead.
2. In such respect, how does a black monotone under-drawing affect the colors on top? Artists like Alex Ross makes use of this aspect quite significantly. Traditionally, blacks are frowned upon, but many illustrators make use of it as a underlying value to paint over.
I think using black as black and for darkening certain colors are fine. However, when you use black to darken certain colors it may not turn out to be the color you want. For example if you’re rendering a yellow object the color will probably shift towards a more intense and warmer yellow before entering the more neutral shadow area. Adding black to yellow will not warm it up. It will most likely give you a somewhat greenish tint. So using black can be fine just make sure that you are getting the color you want before applying it to your painting. Using a test sheet will help to see what the paint looks like on paper prior to using it on your actual painting.
Doing a black/gray under painting may also work fine. But again be aware of the color intensity that you are going for in the end. If you’re painting transparently remember that colors have their own inherent value and therefore may not need much of an under painting. Red is a great example of a very intense and inherently dark color. I would probably keep the under painting more focused on the core shadow areas where the values are the darkest.
Of course don’t forget to have good photo reference and a color study prior to starting on the final painting.
3. Do you find a need for an under-painting with black and grays after your graphite layer? Will this process be considered unnecessary since it is basically doing the same thing?
It depends. Often graphite shading on a white page looks dark enough, but when seen next to some dark paint it may not be as dark as needed. After my graphite shading and initial acrylic wash I usually go straight to whatever color is required.
4. As a student or even working illustrator, how do you manage with the extra amount of time that is required for layers to build up with acrylic washes?
The amount of time allowed for the project will help to dictate size and complexity of the work. So if a job has a quick turn around it may not be the best time to paint the largest or most complex painting you’ve ever done. Most printed images are not very large. So most paintings can be done at a manageable size. Of course this depends on the artist as well. Some artists can do amazing paintings at a large scale over night. Unfortunately, I’m not one of those guys.
5. Artists who work similar to your style use watercolor along with acrylic. Do you think it is necessary in order to capture an extra sense of transparency or are acrylic washes enough? Is air-brush another viable option?
I think it’s personal preference at this point. Each medium has different characteristics. I use acrylic. However, I don’t think using one over the other is a necessary choice. Plenty of great artists use mixed mediums. As for airbrushing I don’t have any experience using it so I’m not the best person to ask.
Hope that helps.
Wednesday, 14 March 2012
by Donato
One of the most important steps in my process is the use of abstract studies. More commonly known as thumbnails, I prefer to think of these explorations as weighted heavily in the realm of abstraction where form and content merge together quite closely. 'Thumbnails' for me imply a miniaturized version of my final narrative/content, and this is not where I want to begin the creative process.
The intertwining of the abstract with a vague awareness of a narrative fosters a broader freedom for my imagination, freeing my visual sensibilities up from preconceived ideas about figure, ground, and details. I love to explore the relationships of pure form, geometrics and interlocking shapes like puzzle pieces, building off the flatness of the images and developing structure from those base blocks. Inevitably I wind up projecting realistic content into the forms I see evolving, but the initial structure derives from the free play of gesture, shapes and scribbles with my pencil and chalk. When I am at my best, I have only a very vague idea what the content of the image may become!
Following are a few pages from my sketchbooks, illumination the various stages and approaches taken to these studies. Some are obviously focused and suggestive of figurative forms from the start, while others are a pure play of abstraction. I never know what each image needs for its development until I put pencil to paper.
I think the way I develop and form my visions through this process of exploration of is one of the main reasons why I have stayed a traditional artist while the digital media has subsumed the illustration field. The idea in its abstract form is always in 'motion', vibrating like a string as I attempt to find its 'true' note. Aspects of the design and elements are constantly jostling against one another as they find a balance in my minds eye. Once chosen or realized with decisive stroke, color or detail, I move onto the next note tackling the entire composition until the 'song' is played. This act of making the gesture concrete is a way I proceed to finalize and express my intent in a work of art. Every phase of my process, from the abstracts, to the rough drawing, to a preliminary drawing, color study and into the final oils are all ratchets that keep me moving forward toward my goal of completion. The idea that the entire song can be kept in motion during the entire phase of the process does not work for me!
One of the greatest frustrations I now experience in my career is the lack of time to execute the successful compositions and content I am discovering within these abstracts. My sketchbook is filling with them! We are all inspired by the potential expressed in a study, so much could happen from that initial bud, and we are constantly humbled by the lack of satisfactory completion of that original ideal, but it is the pursuit of perfection which brings enthusiasm to my studio time. I gladly chase that fulfilling goal, even if it forever remains just out of reach...
Below are the sample pages, with the last image displaying the fruits (and even a couple award winners) of a few of those initial buds of inspiration.
One of the most important steps in my process is the use of abstract studies. More commonly known as thumbnails, I prefer to think of these explorations as weighted heavily in the realm of abstraction where form and content merge together quite closely. 'Thumbnails' for me imply a miniaturized version of my final narrative/content, and this is not where I want to begin the creative process.
The intertwining of the abstract with a vague awareness of a narrative fosters a broader freedom for my imagination, freeing my visual sensibilities up from preconceived ideas about figure, ground, and details. I love to explore the relationships of pure form, geometrics and interlocking shapes like puzzle pieces, building off the flatness of the images and developing structure from those base blocks. Inevitably I wind up projecting realistic content into the forms I see evolving, but the initial structure derives from the free play of gesture, shapes and scribbles with my pencil and chalk. When I am at my best, I have only a very vague idea what the content of the image may become!
Following are a few pages from my sketchbooks, illumination the various stages and approaches taken to these studies. Some are obviously focused and suggestive of figurative forms from the start, while others are a pure play of abstraction. I never know what each image needs for its development until I put pencil to paper.
I think the way I develop and form my visions through this process of exploration of is one of the main reasons why I have stayed a traditional artist while the digital media has subsumed the illustration field. The idea in its abstract form is always in 'motion', vibrating like a string as I attempt to find its 'true' note. Aspects of the design and elements are constantly jostling against one another as they find a balance in my minds eye. Once chosen or realized with decisive stroke, color or detail, I move onto the next note tackling the entire composition until the 'song' is played. This act of making the gesture concrete is a way I proceed to finalize and express my intent in a work of art. Every phase of my process, from the abstracts, to the rough drawing, to a preliminary drawing, color study and into the final oils are all ratchets that keep me moving forward toward my goal of completion. The idea that the entire song can be kept in motion during the entire phase of the process does not work for me!
One of the greatest frustrations I now experience in my career is the lack of time to execute the successful compositions and content I am discovering within these abstracts. My sketchbook is filling with them! We are all inspired by the potential expressed in a study, so much could happen from that initial bud, and we are constantly humbled by the lack of satisfactory completion of that original ideal, but it is the pursuit of perfection which brings enthusiasm to my studio time. I gladly chase that fulfilling goal, even if it forever remains just out of reach...
Below are the sample pages, with the last image displaying the fruits (and even a couple award winners) of a few of those initial buds of inspiration.
-Jesper Ejsing
I would like to direct your attention towards a fabulous initiative from David Brasgalla, an artist from Sweden. He has created a workshop taking place in Stockholm, and has been kind enough to invite Petar Meseldžija, Justin Gerard and myself, Jesper Ejsing, to be the teachers. The workshop is scheduled for April 20-22, 2012.
To be honest I must be looking just as much forward to this as the attendants must. I really am excited to hear what Justin and Petar have to say about painting.
Well if you are in the area, or near an airport and wanna go hang with us for a weekend of painting, take a look!
More information at: http://northernlightworkshop.com/
I would like to direct your attention towards a fabulous initiative from David Brasgalla, an artist from Sweden. He has created a workshop taking place in Stockholm, and has been kind enough to invite Petar Meseldžija, Justin Gerard and myself, Jesper Ejsing, to be the teachers. The workshop is scheduled for April 20-22, 2012.
To be honest I must be looking just as much forward to this as the attendants must. I really am excited to hear what Justin and Petar have to say about painting.
Well if you are in the area, or near an airport and wanna go hang with us for a weekend of painting, take a look!
More information at: http://northernlightworkshop.com/
Monday, 12 March 2012
-Dan dos Santos
I almost always do a really tight pencil drawing before I start painting. The drawing shows through the paint (doing a lot of the work for me), and typically prevents me from making any huge mistakes. And although it may save time and reap consistent results, tediously rendering everything out in pencil is not always the most fun thing to do, nor does it always reap the best results.
Believe it or not, once upon a time, I actually used to paint pretty loose... and Alla Prima.
Go figure.
On occasion, I get a real hankering to do that again.
I always promise myself I am going to loosen up and just sling some paint, but I rarely do.
This time though... I made good on my promise.
I'm working on a job right now that has a classic 'Orientalist' feel to it, and I thought it would be the perfect opportunity to deviate from my usual methods. So I decided to paint this piece really big, and without a pencil drawing.
It is giving me a chance to push some paint, play with texture, and most importantly... MAKE MISTAKES.
The end result will likely look the same as my usual stuff (After all, I've got to give my clients what they are expecting of me), but already the process has been a lot more fun, fluid, and really quite rejuvenating.
I almost always do a really tight pencil drawing before I start painting. The drawing shows through the paint (doing a lot of the work for me), and typically prevents me from making any huge mistakes. And although it may save time and reap consistent results, tediously rendering everything out in pencil is not always the most fun thing to do, nor does it always reap the best results.
Believe it or not, once upon a time, I actually used to paint pretty loose... and Alla Prima.
Go figure.
 |
| 'Stretch', 2001, oil on canvas. |
On occasion, I get a real hankering to do that again.
I always promise myself I am going to loosen up and just sling some paint, but I rarely do.
This time though... I made good on my promise.
I'm working on a job right now that has a classic 'Orientalist' feel to it, and I thought it would be the perfect opportunity to deviate from my usual methods. So I decided to paint this piece really big, and without a pencil drawing.
It is giving me a chance to push some paint, play with texture, and most importantly... MAKE MISTAKES.
 |
| A sneak peek of the piece I'm currently working on. |
The end result will likely look the same as my usual stuff (After all, I've got to give my clients what they are expecting of me), but already the process has been a lot more fun, fluid, and really quite rejuvenating.
-by Arnie Fenner
Many people know that Maria Cabardo (formerly of WotC and Vertigo) has been working on a documentary film about the late Jeffrey Jones. And, except for a minor tweak here and there...she's completed it. It's edited. It's scored. It's a wrap.
A new website devoted to Better Things: Life + Choices of Jeffrey Catherine Jones has just gone live and features film clips, posters, news, and a gallery of Jones' art.
But when will audiences have an opportunity to see the entire documentary for the first time? How about May? If plans hold (and, of course, anything can happen in a few months), Better Things will premiere at Spectrum Fantastic Art Live! in Kansas City as a remembrance on the first year anniversary of Jeff's passing. I'll share more information as details get hammered out, but definitely visit Maria's website for a first glimpse of what her movie promises.
Many people know that Maria Cabardo (formerly of WotC and Vertigo) has been working on a documentary film about the late Jeffrey Jones. And, except for a minor tweak here and there...she's completed it. It's edited. It's scored. It's a wrap.
Above Left: Director, Maria Cabardo; Above Right: 'Tarzan', by Jeff Jones.
A new website devoted to Better Things: Life + Choices of Jeffrey Catherine Jones has just gone live and features film clips, posters, news, and a gallery of Jones' art.
But when will audiences have an opportunity to see the entire documentary for the first time? How about May? If plans hold (and, of course, anything can happen in a few months), Better Things will premiere at Spectrum Fantastic Art Live! in Kansas City as a remembrance on the first year anniversary of Jeff's passing. I'll share more information as details get hammered out, but definitely visit Maria's website for a first glimpse of what her movie promises.
Sunday, 11 March 2012
-Petar Meseldzija
French comic-book artist Jean Giraud, alias "Moebius", best known for his gritty Wild West character "Blueberry", has died at the age of 73 after a battle with cancer, according to his publisher.
In the 1970s and 1980s, Giraud developed his experimental side by branching out into science fiction under the "Moebius" name.
Giraud also ventured into cinema, working with director Ridley Scott on the visual effects for "Alien" and the computer-effects-driven movie "Tron".
His death was confirmed by publishing house Dargaud on Saturday, which said the comic-book world had lost "one of its greatest masters".
French comic-book artist Jean Giraud, alias "Moebius", best known for his gritty Wild West character "Blueberry", has died at the age of 73 after a battle with cancer, according to his publisher.
In the 1970s and 1980s, Giraud developed his experimental side by branching out into science fiction under the "Moebius" name.
Giraud also ventured into cinema, working with director Ridley Scott on the visual effects for "Alien" and the computer-effects-driven movie "Tron".
His death was confirmed by publishing house Dargaud on Saturday, which said the comic-book world had lost "one of its greatest masters".
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