Melty Black Goo

It’s a recurring concept.

Here’s one of those rare moments where I’m losing track of what I have and haven’t shared in various places. I’m usually a little more organised than this, but that’s what happens when you’re working in three-four different sketchbooks at once. I’ve got to keep flipping back through them to make sure I’m still aware of the things that I’ve done. I know that I’ve shared this particular piece over on Twitter but I’ve not shared it here, so that’s some clarity through the confusion. But I couldn’t say if there are any other pieces that I’ve missed along the way.

Or how many pieces that could be if I had missed some.

So, let’s talk about this sketch. It’s a concept that I’ve had in my mind for quite some time, but one that is evolving further away from the humanoid approach present in Corruption Collection and towards something alien. Melty black goo alien. Which is quite an interesting development as I’m not sure where it’s going from here, either.

I can confirm that it is going somewhere. I’m just not sure what the finalised version of this concept will be and whether ink, pencil, or even watercolour would be the best approach. I’m also not sure if there’s going to be more humanoid features in the finalised version. I’m mostly conflicted as the humanoid features will add an emotion to the piece, but the alien features will afford me the opportunity to be wildly more creative with a likely more unique final result. With both of these concepts I’ve been happiest with the faces and the emotions. Which might suggest that it’s best to lean towards the emotional approach. That said, I could explore each of these approaches as there are no restrictions as to how many of these pieces I do.

He’s more goo than man!

The version present in this post was actually a direct response to the fact that I haven’t felt too good about the faces I’ve been drawing recently. That particular issue is peculiar as I’ve always been interested in drawing anatomy, which makes it odd that my current displeasure comes from anatomy. It’s been a weird few weeks in more ways than one. I was surprisingly happy with how this piece turned out, though. It was mostly done without reference and more as an exercise to see how much of that information I retain.

Which, again, given it is anatomy, should be a substantial amount.

I’ve been looking to change various aspects of the process of creating things recently, too. I know that this has resulted in a more erratic posting schedule for which I apologise. But I would hope that you’d agree that the recent content has been of higher quality, is more interesting, and is more engaging to interact with. Which is a standard I intend to maintain.

Creative content has been particularly erratic despite a strong and steady flow from last year. There are more than a few reasons for this, but that doesn’t mean I’m not trying to be more consistent and to produce more content. I’ve been looking at new ways to develop content, too. I’ve been thinking about either video recording or streaming as a possible expansion of what I’m currently doing, but there are issues which I need to address before I’m ready to do those. I’ve also got a few things I’ve been working on recently, which will hopefully come to a satisfactory conclusion and provide a steady stream of creative content for a time. There’s also some older content that I might revisit as well.

Have a nice week, all!

Moggie

Art, design, and the like found herein (unless otherwise specified) is drawn and owned by David Wilkshire (also credited as Moggie) from 2006 to present date.

Ambitious Acrylic

Colourful mile markers.

I’m going to justify purchasing those brushes or I’m going to paint trees trying. Or both. Probably both. This piece follows on from the attempts present in Mushroom Inspired, which are not entirely related as those are destined for watercolour painting while this is an acrylic painting. I’ve also yet to add more attempts to that particular set of watercolour paintings. But that’s what happens when you’ve got watercolour, acrylic, and gouache tubes quite literally piling up all around you. Not to mention all of that canvas and watercolour paper.

It’s a muddled haze of various paint tubes and water jars.

I’m starting to echo previous thoughts of stretching myself too thin, though. It’s noticeable that my output is suffering somewhat in the face of trying to do as many things as I am at the moment, as I have a lot of things that exist in a transitory state. They’re not quite here, there, or really anywhere at the moment. But they exist in their own mildly confusing way.

To add a moderate amount of insult to that injury I’m also not too happy with this result. But that’s also a transitory issue as I’m still getting used to how these brushes feel, how they hold the paint, and how well I can apply the paint. I’m also a few months out of practice with acrylic painting. I’ve started to understand more about why I don’t like my acrylic paintings, though. It’s mostly related to details and perhaps due to or as a result of the preparatory stages. I’ll be taking a break from gouache for a while, too. It’s becoming increasingly confusing trying to sort watercolour painting approaches, acrylic painting approaches, gouache painting approaches, pencil sketching approaches, and ink detailing approaches all at once.

Only the fluffiest clouds.

There’s also an issue of breeding familiarity with acrylic painting. It’s still an approach in its infancy for me and that’s something I need to recognise more when I’m pushing for certain results, which might not be as possible as I’d like to think. I do need to learn how it works. Much as I have with other materials. That said, I’ve been unusually happy with recent pencil and ink attempts. Which is a small amount of positive reinforcement in an otherwise confusing time. It’s certainly… something… right now when it comes to all things creative.

But that’s not a negative response, either.

I’m rather happy that I’ve had this momentary reignition of inspiration. I might not be entirely happy with everything I’m doing, but I’m actually doing it and making progress towards understanding more than I ever have about my creative influences. Which is always better than coming away from the experience none the wiser and more frustrated as a result.

This can mostly be considered a mile marker on the road of my artistic journey. I’ll either look back on this as a better acrylic painter or I’ll look back and realise there’s still work to be done. In either case, I still feel it’s an important part of the creative process to recognise progression where it exists. Or to provide an amount of progression through sketches and other pieces that aren’t quite to the quality standards you adhere to. That’s why these posts are both fun for you and interesting for me. We both get to share something that not only generates content, but strengthens the level of creative content on the site(s), and provides me with an actually useful tool to measure how things are going in various ways.

Have a nice weekend, all!

Moggie

Art, design, and the like found herein (unless otherwise specified) is drawn and owned by David Wilkshire (also credited as Moggie) from 2006 to present date.

Expensive Mistakes

Not so much a mistake but a lapse in judgement.

Not that it was really a lapse in judgement, either. It was more of a calculated logical thought process tempered in the fires of reasoning. But there really is no point in trying to explain why I do the things I do, mostly because that would take far longer than just explaining that I’ve done them. I’ve been working towards a collection of materials for some time, though. So this is hardly something unexpected. Mostly because I’ve been looking to get a nice set of flat brushes that compliment the nice set of round brushes I bought some time ago.

I’ve got this thing about brushes. It’s kind of concerning.

I also bought a fan brush because they’re neat and I’m sure I’ll find a use for it. At some point. For some reason. In any case, I’ve finally decided to settle (for lack of a better word) on a collection of materials which I believe suit what I’m attempting to do. I don’t know if they’re the materials I’ll be sticking with forever- but they’re the ones I’m sticking with for now.

Spontaneously purchased some gouache tubes while I was at it, too. It’s… an interesting material. I’ve not used them for much outside of a small test piece, but I’ve learned a little more about them in the process of painting that test piece. I’ve also discovered the joys of layering gouache. Which isn’t actually as easy as it might seem, as the paint never actually dries (as far as I can tell) and can always be reactivated even after several hours. Well, no, it does dry, but it doesn’t stay dry. That might be a better way to explain it. It’s an interesting detail that I wasn’t too aware of and so my first attempts were somewhat flawed. I’m really enjoying the creamy texture of the paint, though. The styles I could create with it are gorgeous.

Moggie makes the mistake of going to the local art store.

I suppose it’s more that I’m approaching it wrong as it’s kind of like acrylic and watercolour had a baby. A very creamy baby. Which means you need to approach it in a similar way to how you would approach watercolour, working light to dark instead of dark to light. Not that you can’t overlay colours. Just that you’re going to run into issues if you’re trying to overlay incredibly light colours over incredibly dark ones. As the darker ones will reactivate and blend endlessly into the lighter ones. Some of my issues are definitely my own.

Which I’ll work out by learning more about the material in time.

It’s kind of exciting, though. I’ve really enjoyed being able to learn new things about acrylic (and even digital) painting. Gouache is just another test that I’ve forced myself to go through for reasons I can’t quite explain, but will appreciate once I do something I really like with that particular material. Like every other material I own. It’s, again, a thing I’ve got for materials.

That doesn’t mean I’m entirely abandoning acrylic painting, either. I’ve got my own set of issues with that particular style of painting as well. But, as I mentioned in Mushroom Inspired, I’m starting to change what I consider are my conventional approaches to different subject matter. I may be doing more watercolour painting in the future. That could extend to gouache and acrylic painting, too. It also may not. I may continue with things as they are. But there’s definitely something different about how I see things, how I approach them, and my level of confidence with the range of materials that I use. I can’t tell if that’s just experience evolving into confidence or whether I’ve reached another artistic plateau. The latter sounds terribly conceited.

Have a nice week, all!

Moggie

Mushroom Inspired

They’re really growing on me.

Not that I’ve ever had anything against mushrooms. They were one of the first things that made me truly appreciate the creativity behind The Elder Scrolls III: Morrowind. Those alien landscapes composed of gargantuan plants, trees, and mushrooms. The local customs and cultures which made every region feel different. The fact that the local races lived next to active volcanoes and that these same volcanoes were evident in the world around you. It’s one of those moments that remains unique in The Elder Scrolls series as nowhere else in Tamriel is quite the same.

Tangential conversation at its finest.

Intricate and tiny mushroom details.

I’ve had more than a few thoughts regarding all things creative recently. Firstly, that I don’t use watercolour as much as I would like to. Secondly, that I’d like to take a moment to appreciate the changes to my creative process. Thirdly, that thinking about things doesn’t necessarily mean you’re going to do anything about them. Which is why I’m actively doing something, too.

The first two of these attempts are currently works in progress. I’m trying to see how viable it would be to approach new pieces with watercolour, and whether that’s something that I would like to do more frequently in the future. I enjoy the fluidity of watercolour, how it blends, the textures of the paper, and the fact that I can reinforce it with ink. So I’d like to take more advantage of that. That said, I believe that my state of mind is still one that suggests that watercolour is a special material. Meant for special things. Which is a silly state of mind. Much like how I wouldn’t think of using ink as a default material due to always regarding it differently. Now it’s just ink. It does what ink does. On the other hand, that doesn’t mean that these attempts will be successful.

But that is of little consequence with watercolour. Those tubes last a very long time as you’re only using a small percentage of paint as you thin them to the desired consistency. While it’s not too much of an investment to experiment with the actual tubes, the paper is slightly more expensive than my usual cartridge paper. Which is why the sketches are smaller and there are multiple on the page. I don’t really want to burn through two or three sheets of paper wastefully. That and I’d like to start a little less ambitiously while I’m still working on the approach.

Inspired by the areas surrounding Davon’s Watch.

I’m hoping to do more watercolour sketches, too.

Particularly character concepts of some description. Those are notably missing from the two approaches with the closest being the deathclaw, which exhibits some human anatomy (and a more demonic look) but it’s not a human character. Or alien character. It’s a weird irradiated lizard that lives in the various wastelands that remain after the fall of nuclear fire.

The last of these attempts is pretty much the reason why I thought about watercolour painting in the first place. I’m starting to realise that approaching landscapes with pencil or ink alone might not be the best idea. There’s certainly nothing wrong with either of those approaches, but I feel as though I have more potential adding some amount of colour to those and thereby creating something more unique. I still love ink as an approach for trees and the like, though. Pencil, too. Those are most definitely still valid options. It’s interesting as both scenic pieces and watercolour are two things I can identify as things that I enjoy but don’t do enough of, but they’re both things that I haven’t made any significant attempts towards yet.

Have a nice week, all!

Moggie

Art, design, and the like found herein (unless otherwise specified) is drawn and owned by David Wilkshire (also credited as Moggie) from 2006 to present date.

Fallout 3, Deathclaws, Super Mutants, Pip-Boys, and all associated trademarks and devices are owned by Interplay/Bethesda.
The Elder Scrolls, The Elder Scrolls Online, Morrowind, the Morag Tong, and all associated trademarks and devices are owned by Bethesda.

To Ink a Deathclaw

An ill advised pursuit at best.

The phrasing could be misconstrued to suggest that the deathclaw is getting a tattoo, which would also likely be an ill advised pursuit. Unless you’d enjoy being eviscerated by a colossal lizard in an irradiated hell. Then it’s probably pretty fun. In any case, this is a digital work in progress that doesn’t feature any actual ink- but it’s the best parallel I’ve got to lining a piece crisply and cleanly. In many ways this is also the complete opposite of what I’d do traditionally, lacking many of the intricate and busy details.

Which might not be an entirely bad thing, either.

I’ve wanted to try and use less details in some pieces to get a feeling of how that would change the presentation, composition, and level of quality. I wasn’t necessarily hoping to do this digitally, but when the opportunity arrived (and the original approach wasn’t working out) it seemed to fit. It does look incredibly weird to me, though. I’m used to lines and whatnot being everywhere!

It’s also taking a fair amount of time to get even the basic elements looking as I would like them to. This is nothing new with digital illustrating or painting for me, which is something I’m heavily considering the reasons for with each new piece. In comparison to traditional art many of these pieces take several times longer. In all the worst ways. This could be inexperience with digital approaches showing through, or it may be an indication that I might need a higher specification tablet, as I currently use a Wacom Bamboo, and I’m not sure if that’s meeting my needs any more. Normally I would refuse that suggestion as even being a possibility but there might be some truth to it. I’ve been thinking about upgrading to an Intuos at some point anyway.

That’s quite an impressive maw you’ve got there.

There is definitely a disconnection somewhere between my brain, my hand, and my tablet. Something isn’t working as intended. Which, again, could simply be that the pressure sensitivity isn’t as good on a Wacom Bamboo. I know it isn’t via the technical specifications. But I also know that you don’t need the best materials to create high quality art. One of the things that novice artists tend to assume is that they need the highest quality everything immediately, which, in skilled hands, does provide higher quality results, but will not immediately make you a better artist.

An understanding of fundamental concepts will always take you further.

Which is why I’m committed to seeing this through to the end. I’d like to know whether the problem exists within my approach (which is likely) or whether it exists as a result of my tools (which could be likely). In either case, I’m not going to invest in an Intuos any time soon and I’ve already made great progress over the last year with digital art. So we’ll keep going.

I do enjoy working with digital approaches and I see an incredible amount of potential in them. They’re also helping me appreciate my traditional pieces in a new light. It’s an interesting side step towards something that is fundamentally the same but provides a different challenge, which, hopefully if I pursue it further, will make me a better artist overall. I’m not really sure where this piece is going in the future, either. I will more than likely finish it as a lined piece. I’ve been talking to someone I know (who does great deathclaw pieces) to add some colour to it when I’m done. I think their approach would suit much better than mine would. It would also be a learning experience to see how they would approach this piece (likely differently to me).

Have a nice weekend, all!

Moggie

Art, design, and the like found herein (unless otherwise specified) is drawn and owned by David Wilkshire (also credited as Moggie) from 2006 to present date.

Fallout 4, Deathclaws, Super Mutants, Pip-Boys, and all associated trademarks and devices are owned by Interplay/Bethesda.

Corruption Collection

Decaying souls housed in failing flesh.

There are a couple of trees in there, too. It wouldn’t be the same without a healthy dose of foliage. I’m starting to think I have a problem, but none have taken me seriously when I mention my obsession with my wood. I’m not sure why, either. They seem pretty understanding about the foliage thing. In any case, it’s a good time to throw together this sketch compilation. It’s been a while since I’ve done one of these and this one highlights a rather rare attempt at a Dark Souls inspired sketch.

I do love the visual style of the Dark Souls series.

There’s a certain quality that persists throughout the series which produces some utterly gorgeous suits of armour or weapons. Each usually telling a story about a previous owner, a previous age, or even a previous instalment. Highlighting the many realms and many inhabitants that have come and gone through the span of time that precariously knits each instalment together.

Many of these sketches have been previously highlighted over on Twitter. One is new-ish. That said, they were previously presented cropped and without as much context as they have here. Which, for the coloured pencil and ink tree sketch, is actually an interesting distinction, as you can see how the original pencil sketch looked and how things unfolded from there. It provides an interesting contrast to the graphite pencil tree sketch, within which you can see how the two approaches are surprisingly different despite having the same subject matter. Then again, the two were intended to be entirely different in their final presentation- but they remained fairly consistent in their original sketches.

I have a thing for trees. Colourful trees.

It’s interesting to me as I’ve been thinking about consistency for a while now. I was starting to question whether I had any which may have been slightly misplaced, as, while the two presentations ended up entirely different, they did start fairly similarly. Perhaps I’ve been looking at consistency the wrong way around. On the other hand, I’m pleased that these sketches maintain a level of quality which ranks with the best work I’ve done. Maybe I’m finally becoming more comfortable with my myriad styles, too.

Or maybe I shouldn’t have myriad styles.

I’ve also been working with a singular type of paper recently. I wish there were reasons for that, but the closest I have to a reason is that I can’t be bothered to disturb the cat by moving the supply box around to get my other bristol board. I know it’s in there. Somewhere. I’m starting to warm to cartridge paper, too. It tells all the best stories and keeps me warm on cold winter nights.

Been shuffling pencils around as well. Indulging in the pleasures of HB rather than my usual choice of B. No real reason for that, either. Just that it feels natural at times to select certain pencils over others. Almost as if I’ve gained some fundamental insight into how I approach things and what would be best to use, based on situation, instead of experience, to provide the best possible result at the time. It’s also fun experimenting with different materials from time to time. It’s surprising how something as simple as switching a pencil can drastically change the presentation of the finished piece. I’m still smitten with 2B*, too. (*The pencil not the android.)

Have a nice week, all!

Moggie

Art, design, and the like found herein (unless otherwise specified) is drawn and owned by David Wilkshire (also credited as Moggie) from 2006 to present date.

Hollows, Bonfires, the Elite Knight set, Estus Flasks, and all associated trademarks and devices are owned by FROMSOFTWARE.

Pug Life

I didn’t choose it- it chose me.

Here’s a digital painting that I’ve been working on recently. Which, because I’m writing this post, will never be finished. Or at least that’s what the general trend with my digital painting efforts would lead me to believe. That said, it’s not as a result of writing posts that digital paintings are likely to never be finished- it’s instead that because the painting is likely to never be finished that I decide to draft the post. If nothing else it allows me to use some of these attempts in a constructive way that’s conducive to further progression.

However, I’m still hopeful that this piece will be finished at some point.

I can’t say when that point will be and whether it’s in the immediate future or not. I’ve reached that (commonly arrived at) moment where I’m not sure how best to continue with this particular piece. It’s reasonably obvious that the next stages would be in painting the beige and cream fur on their face, it’s not as obvious, however, how I would go about doing that.

Which is another event I’ve identified as a quite common occurrence with my digital painting attempts. Each has their own moment where I suffer from my inexperience and am unable to move forward in a way that I feel represents the overall quality until that moment, thereby reducing the likelihood it will be finished and further adding to the innumerable list of abandoned pieces. Many of which were highlighted in Multiple Attempts. Again, that post exists for the sole reason of giving a visual indicator of the state of many of the previously mentioned digital paintings. In a way further reinforcing the point I’m making here, as, without some indicator of progression, it could be hard to understand the dissatisfaction (for lack of a better word) I have for them.

Fluffiness rising.

Fluffiness rising.

I also realise that digital painting has been a topic that I’ve returned to several times. Each time I’ve had a different opinion, a different approach, and a different way to solve the various issues as I perceive them to be at the time. I don’t disagree with anything I’ve said, either. This is (as I see it) part of the creative progression process. Exploring different options, using different approaches, exploring new materials, and understanding the results of those decisions are all important components in getting the results you want.

Not that I have been getting the results I want.

Then again, I have started to notice that as I’ve worked on this piece I’ve slowly begun to understand more about how all of the different pieces of digital painting come together. Most notably I’ve noticed many improvements by working with a larger canvas. I usually work with something reasonably large- but it would seem that bigger is better in this case.

I’m also starting to piece together a consistent illustrative style which isn’t too realistic but acts as a decent foundation for further improvement. Whether I’d like to move towards realism, towards coloured lined pieces, or towards something in the middle I’ve not decided yet. But I do find myself feeling more comfortable with digital painting. I’ve also felt my general brush/pen control has improved. Again, in comparison to traditional pieces, this process is accelerated to a significant degree, as I’ve been working with these digital paintings for just over a year. Which is why I’m not entirely disappointed in the results, as I’m aware that it will take significantly more time and investment before I’m seeing the results that (at the moment) seem almost unobtainable.

Have a nice week, all!

Moggie

Art, design, and the like found herein (unless otherwise specified) is drawn and owned by David Wilkshire (also credited as Moggie) from 2006 to present date.