Experimentation isn't always going to be social media ready. It shouldn't be, actually. How does an artist learn through mistakes...while being too afraid to make them?
One of my favorite painting processes is just throwing whatever at the wall -- or canvas -- and seeing what sticks. Even that dynamic foundation can be shaken up a little. While playing around in Photoshop the other night I slapped down some complimentary colors and fooled around with the smudge tool. Didn't have anything in particular in my head. In doing so, I discovered something I've never seen before: an iridescent finish caused by the smudge tool's blurring effect. Frankly? It looks fucking awesome.
The painting itself is...meh. That's fine! I learned a fun new way of creating a foundation in my speedpaintings and discovered some neat tricks to add more depth to my work. All with just a few smudges. That's more than enough success for an hour of fudging.
One or two smudges and bam. Instant depth-of-field. A fuzzy, iridescent aftereffect. It's just lovely. For all the digital brushes that are created to simulate oil paints, this is the closest I've gotten to replicating the look in Photoshop. My mind is already bursting with new possibilities. I may try laying out a basic sketch, setting it to multiply, then creating a separate layer to fill it up with these smudgy, rainbow colors. Maybe do some environment studies by setting down basic silhouettes, then smudging everything together.
I actually like these ones the best. The surreal, almost broken appearance is very...dreamlike, in a way. I love half-finished art (big reason I upload my progress shots so much) because you can follow the artist's logic on a visual level. Video, .gif, progress sheet, doesn't matter! If finished paintings are self-expression, half-finished work have to be the stream-of-consciousness.
Aaaaaaaaaaaaaaaaaand it's a merfolk. Why would it be anything else?
Experimentation isn't always pretty. It's not always neatly packaged and ready to be consumed, compressed into a bite-sized video for a thousand strangers' casual browsing experience. Hell, the only reason I remembered to take such consistent screencaps this time is because I'm trying not to break a good habit! The thing with social media is...it's just a tool. It needs to be treated as such. When you start limiting your artistic output not for your growth, but for some nebulous 'clout'...you're missing out on some truly formative moments. Besides. All the messy in-between work? Is honestly some of my favorites.
I'm sick to death of being afraid of 'ugly' sketches or unimpressive speedpaintings. That's the bulk of my work, it's how I get to my impressive art, and I'm going to embrace it all.
Definitely going to be utilizing this technique in future speedpaints. Got plenty more goodness on the way, including some last-second Paintobers. Stay tuned!
It's that time again. The autumn leaves are falling, our fingertips are freezing and the Inktober event is in full swing. ...Ish.
I made a poll at the beginning of the month asking for thoughts on Inktober, the popular October art tradition: the consensus was non-committal, with the majority either being wishy-washy on the idea or outright refusing. Is it any surprise? Making art is already enough of a process without churning out daily pieces, which are disruptive by nature due to being free work sandwiched in-between jobs, school and life obligations. This response is on top of countless counterposts I've seen just browsing my feed. For health-related reasons or not having enough time, I'm really happy to see artists prioritizing other things, to be honest. Burnout is a pretty serious issue without adding FOMO to the mix.
Burnout is so serious, in fact, it can literally make you sick. It's an easy trap to fall into as a freelancer, as well, since you're in the position of having to dictate your own hours and find your own work. Getting said work? Often means creating free work in the hopes of someday being paid for it. More than once I've found myself working ridiculously long days without a full break. I've even come down with illnesses that don't usually affect my age group (which I'll talk about in a later post). Does that mean I'm against the concept of Inktober or any variant thereof? Not at all! Daily art exercises have their time and place:
1. They're a smart way to nip overthinking in the bud (how many pieces lie unfinished because of too much prep work?).
2. They supplement portfolios with smaller pieces (great for blogging and/or Patreons).
3. They're great practice and, with the right mindset, a ton of fun.
If you're feeling guilty for not participating, however...that's when you're deprioritizing artistic growth in favor of FOMO: a fluff goal for shallow social media attention that doesn't amount to anything substantial. Art deserves better than that, right?
So, why am I sort-of-kind-of participating? Well, I figured this month was a good opportunity to push myself back into experimenting. I miss just being...loosey-goosey with my paintings. Scribbling down whatever and seeing where it takes me. I talked about this in my last post, on how old work can sometimes be stronger than new work, and I'm eager to touch base with myself. Rather than dwell, I'm dedicating some (keyword: some) days in October to my own spin: Paintober.
It's been a lot of fun crafting new brushes and playing around. These took a few hours each: unlike my last Paintober, the only overarching theme of this month is to just let my imagination and hand run loose.
Used a reference to create a portrait of an older character of mine (you might recognize him from my portfolio's character art section). Had a fellow ask if they could use this painting as their background wallpaper. I don't know what's sweeter: having my art greet someone every time they turn on their computer or being asked in the first place.
This one was a challenge...and, believe it or not, it wasn't the architecture, but the color scheme that gave me the most trouble! I went in with the goal to push my buildings and sense of space, yet ended up seriously flubbing the colors and having to do a bunch of tweaks. All-in-all, a very illuminating painting. I might just recycle it into something more portfolio-worthy. It's the kind of old-fashioned whimsy I've been craving in my work lately.
I just...love Spyro so much. What else can I even say at this point?
What I love about smaller paintings is how they allow me to get out ideas without committing too much time. I have a lot on my plate and, as much as I'd love to churn out endless fancy illustrations...I just can't! Additionally, this gives me more incentive to step up my speedpaint game. One hour or less! I've already got new custom brush packs I've been working on. Now to take things a step further and go back to studying some of my favorite concept artists. I've always been a fan of Feng Zhu and Jason Chan, among others.
I'll be sharing old Paintober posts later, as well as step-by-step shots of the paintings above. I've also been working on some pencil sketches to beef up my portfolio for 2020. Stay tuned!
Here I post WIPs, sketches, speedpaints, thumbnails and anything else thrown into the veritable stew of artistic process.