Friday, August 29, 2014

Making The Golem

This is the full painting 'Making The Golem', created for TSR in 1994. Size is 20" x 30".

Over the years I've kept a painting journal with notes regarding technique, concept ideas, color combinations, critiques and whatever I was thinking about at the time.  Some of these are valuable to me to go back over. Many of the notes are personal, such as conversations I've had with other artists, editors and art directors. Some of the notes are incomplete thoughts, and shorthand ramblings.

Here is an entry from November 20th 1994, labeled Making The Golem.  Some of this was scribbled sideways in the margins.  It made sense to me at the time, I know it reads awkwardly. Use the comment box to ask me to explain something that isn't clear.
    "This is an involved complex painting, 4 figures. Main light source is the forge its glow on everything.  Medium with extra linseed oil good for textures, gooey, sticky paint. 1/2 linseed 1/2 turp with only 1 drop of drier.  Medium got sticky because of too much drier, and it sat too long. Paint faster, with more confidence, more direct.  Add turp to medium for more detailed work, heads, hands.  Limit drier to 2 drops. I need to find ways to speed up while mainting the quality. Raise quality.
     Head of the wizard painted up quickly and clearly. Simple blocked in shapes, accurately with broken blending, not too smooth. Blacksmiths assistant head, I tried to paint too smooth.  Paint should be wet, fresh enough to blend with, wet into wet, not sticky. Gloves painted with confidence, need same with heads.  Skin doesn't need to be smooth. Golem head, because its metal, not flesh, I painted it more directly.  Wizards hair, beard wet into wet paint. First blocked in simple values, blotted off excess paint.  Most everything is painted wet into wet, as apposed to letting paint dry then adding details over the top.  Smoke/steam on the Golem and magic wisps; spread light coat of medium onto dry paint, wipe off excess, used paint with just a little medium, applied very lightly".

Thursday, August 28, 2014

TSR work

These are detail images of two of my favorite paintings I created for TSR' Dungeons & Dragons.  This was a special time for me.  Working as a freelance artist with the deadlines, and being able to see other artists original work in progress, was very motivational. I was so hungry to develop as an artist and to improve my craft.  It was a privilege to be painting for TSR at the same time as these great artists: Larry Elmore, Keith Parkinson, Jeff Easley, Clyde Caldwell, Jeff Butler, Robh Ruppel, and Fred Fields.

Tuesday, August 19, 2014

4 new oil paintings

So far the images I've posted are reduced in file size and scale.  Here are 4 oil paintings that if you zoom into, you can see the brush strokes and some impressionism paint passages.  I'd be curious to know if anyone has trouble viewing these.

3 of these are older paintings, I completed them 6 or 7 years ago.  One of these I painted this year.  Is it apparent which painting is more recent?

Friday, August 8, 2014

Marker pen sketches

 Here is a collection of sketchbook ink drawings. Some are sketched on location and finished later, some are from my photos. The 2 dinosaurs are studies of drawings by William Stout.  A couple are just drawings from imagination.  Some will be recognizable as images from in and around our home. I do these just because I like to draw.

Sunday, August 3, 2014

Cathedral Rock hike

While hiking up and around Cathedral rock I shot a plethora of photos that had great composition.  The difficulty here is what to edit out. At every new turn the landscape was inspiring.  Here are a few of the photos.  I wanted to create a composition that gave the viewer the feeling that we experienced, how the rock formations tower above us.

This is the digital sketch, you can see I used a 3 point perspective to convey the felling of the towering rocks, even though it's a horizontal composition.

 This was the first digital color rough. I liked it but I thought it would be valuable to experiment with various other color ideas. 

I didn't plan to do 16 variations. But it was a valuable exercise.  At this point I switched to oils in my sketchbook to do a final color comp.
This reproduction is a bit yellow. You can see a couple of notes and color swatches. 11x14
I don't have any in process shots of the final but here's my palette and work area.

3 Detail images.
The final. 30x18