There's always a simpler way to do things. I firmly believe in working smarter, not harder.

We turn to custom brushes to help us get down redundant elements like foliage or scales with half the effort. We buy or create stencils so we can get down more accurate shapes without burning out our already precarious energy. Following this logic, this second acrylic painting went by a little quicker than the first due to me already having some paints mixed up from the last one, as well as the thumbnails being done in advance. The composition is similar to the first painting, to boot, and it all whittled an hour or two out of the process. I like it.

This is an aspect of the creation process I'm keeping in mind for future work. What are ways I can snip out a little of the grind? How can I reuse past thumbnails or similar ideas for new projects? I've got more .psd files than I'd like to admit stuffed to the brim with spontaneous painting concepts, which I...really should organize into their own folder. That's so much fertilizer for new work. If you've got some old, unfinished art lying around, consider pulling them back out again and giving them a review. You could just have a hidden gem languishing away unseen.

If you haven't read my first post for the first acrylic painting, check it out here. This character belongs to Khailed, a fellow illustrator who is currently open for icon and portrait commissions. ​

​Without further ado!

To the left are a few of the thumbnails I did while working on the first acrylic painting. I was already solidly in the groove and felt like trying my hand at their original character as I let the other thumbs simmer. I adored their character's rosy ombre hair and little heart sweater (already similar to my own fashion sense). If you can't already tell, they have a knack for simple-and-striking designs. I've noticed how they tend to embody two or three poppy colors and a dominant fashion focal point, like a hat or a top. Really, they hearken to some of the best platformer characters of the 90's. 

I haven't traditionally painted in almost a year. 

​Yeah. That was a fun week.

It's worth noting that digital painting and traditional painting are similar enough as it is, so I technically never fell out of practice. Still, it was refreshing to revisit my old supplies and dip into a well-worn skill. A friend of mine sent me a wonderful custom postcard not too long afterwards, which made my whole month. They're a fantastic illustrator and designer looking to try their hand at packaging design soon (and you can find their portfolio here). 

​What better way to say thank you than with some art of my own?

Their (gorgeous!) postcard is to the left, while their fursona is to the right. It's a very minimalist and striking design, which is just perfect considering the color scheme I want to use. I gathered up some references, warmed up with some doodles, then got started on a slew of thumbs and roughs.

You just have to speak things into existence. ​

I was contacted by Zero Issue Beer not too long ago -- a Canadian craft brewery -- and was asked if I was interested in doing an illustration for their new seasonal beer line-up. What a coincidence 2020 was the year I wanted to get into packaging design and illustration, particularly for beverages! Even better, the proceeds are going to Sankofa Arts & Music Foundation for black Canadian youth. As you can likely imagine, I was sold twenty times over. I have a short interview that will be appearing on their site here. For now? 

I'm going to share the creative process behind this piece, from the rough beginning stages to the inspiration behind it all.  I'll share some tips I've learned about packaging design, too, for any of you who want to branch out your portfolio.

My references are put together in collage format. Just an ongoing slapdash of visual inspiration and technical reference. While I adore my harpies and sphinxes, I still considered exploring some lesser-known hybrids like winged nagas, manticores and anggitay (a unicorn centaur from Filipino folklore). These references are far from a one-use-only deal. They can give birth to several different pieces by themselves, all with the benefit of saving me some work searching Google Images' royalty-free sections. 

Work smarter, not harder.

Zero Issue Beer is very upfront about their love for nerddom: videogames, anime, D&D, you name it. I considered it all as I was designing my buzzed creatures: a giant mountain sphinx, a hoppy harpy, a deer bard and an owl gryphon. I had actually considered doing a lo-fi retro anime-styled design, but that was a case of too many cooks spoiling the proverbial broth. Limitation can actually be your best friend when a piece needs to be finished by a certain date, and considering I had a lot of creative freedom, I knew I needed to dial it back or I'd go crazy. See, I'm on the other side of the artistic extreme. Some artists struggle to come up with anything, while I come up with a ton and can get overwhelmed.

First tip: learn the difference between RGB and CMYK. I frequently get both of these requested, with the preference changing depending on the type of commission (printed cover, digital promotion, product). Creative Pro has a useful breakdown on how these printing types affect printed work and web display.

That unfinished block to the right is around where the beer can begins to wrap. It was interesting having to keep in mind the 3D nature of the can and what the viewer should more or less be seeing and touching in-person. It's one of the many things I love about packaging: it engages even more of your artistic senses than usual. 

I was torn between having the little stick figure be a wandering traveler in the hills or having him look like an abstract flower in the harpy's flower crown. I settled on the latter because I loved how the silhouette made me look twice. Afterwards, figuring out what to do with the little sparks of light eventually pushed me toward a sun-like design.

Now for the final sketch. I had to redo those leaves a few times because they weren't quite popping out like I wanted. Throughout this process I constantly zoomed out to a rough size of the beer can on my monitor screen. Rich detail is certainly beautiful, but you can end up working far too hard on something that won't even show up when printed. 

Second tip: when in doubt? Zoom out. A lot of what you think is meticulous detail in a painting is actually texture and contrast suggesting more than what's actually there. Not only does it save you time, it looks much more natural. Unless you have the eyes of a red-tailed hawk, you can't actually pick out every last leaf or blade of grass in the distance.

My color overlays took a little more doing, as I was torn on how much warm and cool contrast I wanted in the final version. Zero Issue Beer ended up leaning more toward the green, which I very much agreed with. Even a dominant color can still be made distinctive through shade, saturation and focal point. I mixed in some darker, cooler green with bright, warmer ones for contrast. I then tossed in a blue sky and a pop of yellow to keep everything from being too uniform.

Third tip: color is much more complex than you likely give it credit for, so get comfortable with vocabulary like hue, shade, saturation, warm, cool and reflected lighting. If you need to return to the basics, check out Color And Light by James Gurney. This book has been on my to-buy list for a while and I can't wait to read it.

Not only is it for a project that I'm deeply invested in, it was a return to indulgence that has run off with me somewhat. Something I'll always be keen on sharing are the bumps on the art-making road. 2020 has been a series of blows to emotional, mental and physical health for many. Contrary to the popular myth of the endlessly inspired struggling artist, many professionals, myself included, have struggled to create lately. When we're not tired, we're demoralized. When we're not demoralized, we're spreading ourselves too thin. To be able to enjoy a painting so thoroughly from beginning to end was the kind of artistic refresher I sorely needed.

I was asked to offer up a series of names with hopeful connotations, and we eventually settled on 'Reverie'. It's a nostalgic, sweet sentiment, one I'm working on falling into more in lieu of doomsday thoughts that leave me drained. The character here is meant to be a return to joy. A moment of green and comfort, set to a fizzy buzz. 

Here's roughly what the final can will look like, with brand logo, drink name and drink type. Last art tip?

Been a while since I've done one of these!

Indulgent art has always held a high priority for me. Why bother painting or drawing things I'm not invested in? Not to mention I need to show what I want to get hired for, so...kill two birds with one stone. This piece, however, was peak indulgence. Like, a dollop of whipped cream on top of whipped cream indulgence. You have a harpy. You have flowers. You have a ton of colors. Hell, there are even the mildest of vaporwave vibes (pink + blue surrealism) that snuck in without me realizing. Expect to see more of that.

This year has been an absolute trainwreck and it's barely halfway over. Soaking in the subjects and styles I love to the nth degree is as self-care as it gets. As a side-note, I'm going to be keeping these progress posts a little brief from now on so I don't repeat myself. I mean, you know I love color. The part where I start phasing out the sketch and start rendering is orgasmic. Yadda yadda. I'll focus more on the unique challenges of each piece and what, exactly, was going on in my mind when making it.

Cobbled together quite a few references for this one, on top of looking into the mirror to get the hands looking right. Let me tell you, it is damn hard finding a photo of a bird from the belly up with its wings folded. That little ballpoint pen doodle was done on an envelope in-between research and drafting. It's often when I'm thinking the least the best compositions come to me. There's a lesson to be learned here.

I was really feeling the color composition here, but wasn't quite sure how to break up the space a little more. I added a pile of heads in the second one (which also did more to tell a story), but there still wasn't enough contrast. A little too much pink and...not enough everything else. In the far right I added more blue flourishes to get the eye traveling more easily, as well as more plants, and eventually found my happy balance.

​

There was a lot of gradually tweaking small details in the middle of painting. Wings looked uneven, tail crooked, needing more plants. I wasn't going for perfect symmetry here, but I still needed it to look somewhat straightened out. I was constantly debating that floating blood splatter above the harpy's head, too. In the end, I couldn't get rid of it. It was just too interesting a detail to leave out.

For all that I kept straightening out certain elements, I left that crooked kettle handle in for a while. Ugh! Fixed it up the day before posting because it was driving me nuts. Next time? I'm using a stencil. 

I've got pieces simmering on my computer (and more old envelopes-) with yet more mythical creatures, surreal imagery and vague future nostalgia touches. Environment art and concept art is a big focus of mine this year, though, and I am eager to dip into packaging design. Thiiink mock-ups for coffee bags and wine bottles. It's a lot to keep in mind and I'm taking everything one day at a time. In the meantime, I really, really want to start a new sketchbook. I even had a dream about browsing a bookstore and wanting to buy one last night. I have a box of unused ones sitting in the corner of my room! 

Being a freelancer is rough. Thing is? It doesn't have to be.

Take it from someone whose instinct is to try and do everything on her own: don't. Not only will you run the risk of  burning yourself out prematurely, you can set yourself up for failure by missing important legal details or drastically underpricing. There are free and affordable resources out there that can take the sting out of the freelancing process. Pricing, marketing, state law, copyright, portfolio direction, you name it. You can't create a piece of art without tools, right? The same goes for running a successful business. Below are five resources I use on a weekly -- sometimes daily -- basis, useful for both experienced freelancers and budding professionals starting to dip their toes into the working world. ​

Screw saving the best for last: this is a book you need on your shelf if you want to make good money on your art. 

This is the commercial art Bible to end all commercial art Bibles. I was first introduced to this book a few years ago by an art peer/client (you know who you are!) and was instantly floored by how comprehensive it is. No detail is too small, no topic too specific. Graphic novelists, commercial illustrators, fashion designers, concept artists, animators...I don't have enough room to go into all the working artists that could benefit from this tome. If you're intimidated by its page count, rest easy knowing the Graphic Artists Guild Handbook steers clear from being a stuffy compendium and keeps its language -- whether discussing fair pricing or exploring kill fees in a contract -- very accessible. The whole book feels like a patient teacher sitting by your side and walking you through a hurdle. 

The Graphic Artists Guild Handbook: Pricing And Ethical Guidelines is consistent and organized in its layout, providing useful pricing spreadsheets that are separated based on experience, page percentage, geographical sales, etc. With a shelf life that'll last as long as your career does, give or take a few technological advances, there's no reason not to get it. The $45 price point on the home site can be a little steep, but you can find used and new copies on Amazon starting at under $25. Beware of shady sellers, as some reviewers have reported getting copies with missing pages. I got my book in pristine condition, I'm happy to say, and this is now one of my greatest treasures. Hell, I even read it for fun. 

To repeat: you can't do everything by yourself. This means both in the quiet of your home office and in your day-to-day interactions with peers or prospects.

Freelancing isn't straightforward, and that's by design. I won't speak for artists in other countries, but the United States is a workaholic culture that wants workers dependent on employers as much as possible. Right down to when you take a shit and when you can recover from a cold. As such, becoming your own business (or even just making a little side-income) can be an uphill battle. Should you do the 1040-ES or the 1090? Do you need a state license to sell physical goods? What about writing out an effective contract? The Freelancers Union gives you knowledge in bite-sized pieces to ensure you're up-to-date on law changes, ethical business practices and health insurance. 

I'm a big fan of the Freelancers Union newsletter and have been subscribed for over a year, which uses appealing templates and straightforward copy to give you important information at a glance. They also discuss self-care, share opinion articles written by experienced freelancers and offer much-needed words of encouragement. It's a full package. Sign-up is free and their newsletter crops up several times per month. Check out their blog to get a taste of what you can learn.

There are a lot of advice coaches out there. How do you sort out the pragmatic teachers from the out-of-touch gurus?

I checked this guy out based on an anecdote of the fourth recommendation on this list and wasn't disappointed: Ed Gandia is a copywriter with years of experience in business writing, with a fantastic site dedicated to helping today's freelance writers make more money. He runs a blog, podcast and newsletter filled with useful advice to help freelancers avoid what he calls the 'feast-or-famine cycle'. He's no snake oil salesman, either, and never promises to get you knocking out six-figures overnight. His demeanor is practical without being cold, and his sense of humor goes a long way in helping absorb new information. 

I always enjoy sitting down to one of his podcasts in the morning. His free newsletter is weekly and is chock full of tips he's gathered over the years, offering practical approaches on everything from daily self-promotion habits to overcoming self-doubt when contacting a prospect for the first time. Just one example: his method of dividing daily tasks into high-priority, medium-priority and low-priority (with estimated timeframes) has done a lot to chip away at my anxiety. I use this method every day (except for days off, of course) and finish 80% of my list on average. That's not bad from someone who used to be a serial procrastinator!

Attention, any and all black freelancers: there's a resource just for you.

Getting specific with your hurdles is how you find answers. The one-size-fits-all approach does nothing but a disservice to  your unique challenges and just ends up wasting your time. If you work with a chronic illness, then you need to find resources that tackle the intersection between class and accessibility. If you are trying to find work in a certain country as an expat, then you need to find resources that supplement that experience. Blackfreelance provides a plethora of concise, practical blog posts, resource lists and a newsletter to help you navigate building yourself as a freelance black professional.

Black burnout, maintaining professional boundaries, defining a niche...you name it, it's been discussed. The advice provided here easily applies to several skillsets, since much of it focuses on a groundwork of shifting your mindset toward your work. Another example: I can happily thank Blackfreelance for convincing me to choose a niche, as I went the longest time convinced I had to be a jack-of-all-trades. In fact, the creator of the site was the one to recommend Ed Gandia up above! I'm still part of this community and am endlessly grateful for all I've learned. If I have a frustrating question or need a little feedback on an idea, I know where to turn. 

Recent estimates are expecting to see freelancers making up the majority of the workforce in less than a decade, so now's the time to consider some side-income if you haven't already. You can find BlackFreelance over on Twitter or the website here. 

If all of this is feeling a little overwhelming, particularly for those just starting out, look no further than this short-and-sweet zine by graphic novelist Shannon Wright. This is a nine-page .pdf that hashes out the basics of getting your work together and sending it out to the right people. Nice and easy!

​

Sometimes you need to start over fresh. There's no shame in it. Why waste effort picking away at something you could just re-do in half the time? Other times, though, you'll need to bite the bullet and push through. Knowing which one of these to commit to is part of being a productive artist. ​I've talked about it before and I'll repeat until I'm blue in the face. It's a gamechanger.

Now that that's out of the way...let me start this by saying I wanted to drop this piece like a cheap vase. Even worse? This was one of my favorite sketches in my sketch batch. Talk about artistic whiplash. It didn't help I was winging the color scheme and many of the supporting details (a habit I've developed since color theory is one of my strongest skills). I had a vague idea I wanted blue and gold, that I wanted everything fancy and dream-like...and that was about it. For once, my guesswork backfired and made me fudge around more than normal. This doesn't happen often -- I've winged crazier pieces than this -- but it cost me several hours that could've been saved if I fleshed out the draft stages better.

This was a good reminder of how badly a piece can backfire if you don't have the basics down. I thought of throwing my hands up in the air and outright moving on to another sketch, but something about this one told me to keep going. 'Make it work' is a phrase made famous from Project Runway and one I've adopted. It's a saying that tells you to work with your mistakes and find a way out of the hedgemaze you've built for yourself. I might just have to do a post on all my personal quotes one of these days.

(If you're curious about other pieces I've done, check out my recent post on the progress of 'Yasar'.)

As you can see, I did the work of thumbnailing out these outlandish outfits. Just, well...didn't actually think about everything else! From now on I think I'll hash out a quick color scheme in Photoshop -- a cluster of dots ordered from most dominant to least -- before committing. A few minutes to save me a few hours.​ Same with the big block of starry space. Yeeeah, I added that in during the last stages, too.

This character's fashion is inspired heavily by classic JRPGs, magical girl anime and various architectural designs. While many of my characters have a certain theme, this one is intentionally all over the place. All the colors, all the silhouettes, all the patterns! The only rule is a visual smorgasbord: they're a lion child with a wild imagination that, fittingly, helps my imagination run wild. As such, I don't care too much about logistics when it comes to their outfits (beyond differentiating texture and a reasonable fit). 

I've been drawing this character for years and enjoying every fanciful, floofy, extravagant clusterfuck they end up in. It just hit me that gold tends to be a dominant hue or focal point, an entirely subconscious detail. These were done back in 2015, all made up on the spot and something I still don't recommend you doing, ha ha. I can't believe winging it used to be my default. Reconnecting with my youthful spontaneity is a goal I still want to nurture moving forward. It won't replace the reliable structure of thumbnail-draft-sketch, but rather, support it.

In came the first problem: what even the hell color scheme? At the very least, I made sure to adhere to the basics. If you have a lot of cool colors, add a pop of something warm. If a certain color dominates up top, see what can contrast it below. It's like a math equation if math sucked less.

Even though I ended up veering away from the olive backdrop, I still like how it contrasted against everything else. Might have a green-and-gold centered piece later. Speaking of which, check out 'Green And Gold' by Lianne La Havas. Gorgeous song.

There may be a lot of working parts in this piece, but the face has the most pressure to be done well. It's what we tend to gravitate to as human beings, after all, and flubbing the expression/eyes/etc is like ruining the broth in a soup. The science behind the face is a fascinating topic for me and a big reason why I do so many portraits. 

I was given some very helpful feedback in one of the Discord communities I'm part of, particularly concerning the fish. While outside eyes thought they looked fine, this element just rubbed me the wrong way. They were too cluttered, and yet, not enough. These magical betta didn't provide enough contrast and took up so much space the eye didn't know where to travel. I didn't want to eliminate them entirely, though...

...so I went for the 'less is more' approach. The piece immediately felt more breathable. The eye traveled more naturally, too, from the shooting star down to the fish down to the face. I made sure to keep the shade close to the scepter, too, to tie together the color scheme.

A little .gif for those that missed my Twitter post. I'm loving making these so much I might start playing with simple animations in 2020. 

This piece was another lesson in 'just because you can, doesn't mean you should'. Just because I usually am able to wing my designs doesn't mean I should go into a piece flying by the seat of my pants. All in all? I'm glad I stuck with it. I'm going to celebrate what I did well and learn from what could've been better.

It's a New Year, ripe with potential, and I'm going to stick to growing my good habits. I've talked before about how I don't make lofty New Year's declarations, instead preferring to focus on the smaller baby steps that lead up to goals. Now, that's  not to say I don't have some idea on what I want. I'm going to continue to test my skills and build my portfolio. I want to create breathtaking illustrations that tell captivating stories, with emphasis on character interaction and complex backgrounds. I want to design all sorts of unforgettable characters and creatures. I want to expand a little and branch out into concept art, 3D modeling and fashion design.

It's to the point that even doing art of other characters I don't paint very often feels excessive. Like I'm choosing a favorite child. As it stands, I've only drawn Yasar a few times, despite the fact he's a prominent supporting character in a big (and very old) story of mine. I'd go into greater detail about his personality and history, but I'm viciously protective of my intellectual property. Maybe someday when I actually commit this story to a game or a book.

I like to separate character art into three categories: simple, complex and illustrative. The first is exactly what it says on the tin, with no background or any supporting elements whatsoever. The middle adds a little more, such as an item or animal. The latter is an illustration in all but name, with the focus still heavily on the character themselves. I take a lot of inspiration from fashion magazines for that last one, since they tend to showcase models in all sorts of environments that play second-fiddle to the subject. This character art is somewhere between a simple and complex, as the giant gilded egg fills out the space without any additional interaction. 

Funny enough, even after extensive thumbnailing (see below), I still didn't have any idea what I was going to put behind him. Just...something. Something to round out that space! Throwing in a big fancy egg while painting ended up giving me an idea for one of his powers, since he's an illusionist that depends on sleight-of-hand and a jack-of-all-trades approach. ...Don't do what I did, though. Figure everything out in the draft stage. It'll save you so much more trouble.

Thumbnailing my character art was something I did sparingly in the past. Mainly because I internalized some bullshit ideas about how fast my art should be. Thumbnails and rough drafts were for illustrations, right? The complex stuff. The ones with backgrounds and action poses. ...Yeah, that's not true at all. Literally everything can be thumbnailed, from the smallest sliver of concept art to the most elaborate multi-character tapestry. Since my designs tend to be pretty fanciful, this step is extra helpful, allowing me to work out everything before committing to a polished pencil sketch. 

I've been working on a sketch buffer these past few weeks: painting is my greatest strength and it saves me time to have a bunch of pencil drawings ready to go. This was my favorite in the pile, so I decided to start off strong. To the right I added a flat to bring out the silhouette -- the key to any good character art -- and move from there. 

The soft brush remains my go-to for creating base colors. I love everything bleeding into each other. It's a very traditionalist approach to digital art and something I want to keep pushing; see just how buttery and iridescent I can get. I've been experimenting quite a bit with color burn, overlay and soft light layers to add more subtlety. I want colors so rich you feel like you could bite into them like a ripe fruit.

Remember: paintings are conversations. You learn as you go. I realized the legs looked kind of stringy, so I used the magic wand tool to thicken them. Also, I'm obsessed with this guy's pants. They are seriously satisfying to look at.

It took a few passes for me to figure out the most appealing color balance between the character and the egg. The teal ended up being a really tasty contrast with the pink backdrop: almost like a sandwich between the equally warm dominant colors of the character's outfit. I also made the head a little smaller and the hands a little bigger. Probably a sign for me to not get too lost in all the extravagance and keep in mind basic proportions.

A little progress .gif for your viewing pleasure.

Worked on this on-and-off over four to five days. I need to start tallying up the hours, because I honestly don't remember how long it took me overall. I really wanted to push my painting abilities with this one. Interestingly, I feel more success not in the final result, but the process: of committing to a thumbnailing/rough draft stage, using references and getting back into traditional sketching. I also got to show off all my strengths in one place. Fashion design, color theory, character design, lighting, texture. I plan on getting more playful with my layouts, as well as focusing on dynamic poses. 

I've got a pile of great ideas sitting in Photoshop, so this is one challenge I'll be happily meeting head-on. There's nothing quite so intoxicating as having a goal and being like, "Yeah? No fucking problem."

I figure now's a good time to talk about why I've learned not to make New Year's Resolutions.

I understand the appeal. The desire to just...rinse off all the bad, keep the good and glide into the future with a lighter spirit. The socially acceptable ritual of drinking like crazy and waking up with a New Year hangover? I certainly feel the urge in my bones, and it's not even Thanksgiving yet! I won't be doing it, though. I haven't for several years, in fact! I've learned New Year's resolutions tend to be, at best, dramatic declarations with little (if any) long-term payoff. They feel great in the moment, but once it comes down to keeping pace with your ambitions? Resolutions are a recipe for failure that shows in every deadline missed, personal promise delayed and mediocre result gained. 

So I skip it...and instead focus on building good habits instead.

This is a subtle, yet hugely life-changing mentality that I've picked up from B2B writing/content marketing spaces. It makes sense, since the nature of that skillset is about crafting progress in bite-sized increments. Whether or not you're a freelancer, I highly recommend checking out Ed Gandia and BlackFreelance. They have several wonderful pieces that explore the benefits of shifting your mentality with smaller gestures, rather than going for a 'cold turkey' approach that has you falling back on old habits. 

I'll be delving into my polished sketching process in further posts (which involves some jumping back and forth between Photoshop). For now, here's a peek at some of the character art I'll be painting over the coming weeks. I've also got some illustration sketches (not pictured) and recently started pieces. It's more than I've been doing for a while now and I'm pretty proud of myself, to be honest! I've got so many characters clamoring for attention, too, and it feels so good to get some* of them out onto the page. A few don't have names still, despite having fleshed-out backstories, personalities, powers...I'll have to start cooking some up instead of relying on codenames. Like Lion Head and Goat Girl. Tch!

I don't like losing my groove when I've got portfolio pieces to upload and commissions to finish. Keeping the ball rolling is one of the easiest ways to produce strong work with little effort. Need a breather? Switch over to another piece. Too tired to sketch? Just scan in a drawing and paint. This sketch buffer kills several birds with one stone. Never underestimate the groove.

These are pencil and copy paper: nice and simple to keep my mind from twisting itself into knots (fancier materials can do that). That said, I will sketch on cardstock or bristol board from time-to-time if I want to preserve the drawing in the long-term. It's something I'll be considering when selling original sketches.

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.

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.

I've been rifling through more of my old studies and personal thumbnails, analyzing what I've learned over the years with October right around the corner. These ones are all the way back from 2015, a little scratchier and more middle-of-the-road value-wise than I do now. Nonetheless, it's useful to analyze the areas where you've gotten stronger, as well as understanding where your skill starts to peter out and improve more slowly. Moving backwards is still movement!

I've spoken about Frank Brangwyn before and how he's been a major fine art inspiration of mine. His ability to somehow create chaotic and extremely simple compositions is endlessly fascinating, which is to say nothing of his lighting. Buttery and bold, he's able to craft out a figure's weight, age and personality with just a few deceptively simple strokes. I've done enough traditional and digital studies over the years that I feel comfortable getting a lot down with very little. Silhouettes, in particular, are a very reliable way of carving out what you see. 

Moving forward I want to keep polishing up these areas. I want to paint faster, create more stunning compositions and improve my technical perspective. I also want to get comfortable all over again with being sloppy and loose.

While my art is a little too tightly polished to be called impressionistic, it's still a movement I take inspiration from in my preliminary work. The vibrant movement and sharp texture does a lot to keep my creative mind churning. Not all of my pieces are planned, after all. A single blob can be interpreted a dozen different ways. It's really fun figuring it all out on the fly. I'll have to upload more .gifs of my process so you can see just how many times I shrink, flip and rotate my work.

These studies were instrumental in giving me a feel for Frank Brangwyn's work. His blobby, squished subjects and lavish detail just can't be confused for anyone else. On the other hand, I was clearly figuring out what was more important: getting all the details in the right place or keeping the study readable for the viewer. More contrast and smoother linework would have helped here. Speaking of which, I'll be getting into my favorite brushes in later posts, most of which include some sort of 'natural' jagged border.

Clearly I learned something of value (ha!) from all these studies, because these personal thumbnails I did around the same time are much more readable. These compositions draw the eye toward a strong focal point, with the background either swooping or angling toward the subject for maximum effect. On top of that, atmospheric perspective is utilized in abundance to create a more believable sense of space. Perspective isn't just intimidating grid lines and boxes, but how objects fade, overlap and contrast each other.

...And, to be entirely honest? There are actually areas in my 2015 and 2016 work that are stronger than my current work. More dynamic. More lively. Looser textures, compositions that almost seem to breathe...it's no coincidence those happened to be easier artmaking years for me, as well. I was so much less wracked with pressure putting tablet to pen, letting anything and everything flow as it came. It's been hard for me to churn out the same amount of work I used to, and it's in studying my earlier pieces can I better get in touch with what's tripping me up.