Hunter’s Notes: Paolumu – 2018 – Digital – click for full view on site!

Even their ears are fluffy!

It just so happened that the brush which I made for specific areas of Older and Wiser became incredibly useful in detailing the fur on their balloon neck. I swear that’s just a coincidence and not some form of precognition. I wish it was some form of precognition. Knowing what’s going to happen in the future would be awesome. Except in all the scenarios where it wouldn’t be, because something bad will happen, but is required to happen, and so you would try to avoid it despite knowing it is unavoidable. That would just be unfortunate.

Fluffy But Terrifying offers insight as to my thoughts while painting this piece.

They’re mostly the same thoughts I have now that the piece is complete. As much as any piece is ever complete. One of the best (and most painful) things about growing as an artist is realising that you’ll never be where you want to be, because the goal keeps changing relative to your current perception of your level of skill. It’s a gnawing feeling that never goes away.

That said, I’m most disappointed with the fur on their balloon neck. Everything else is mostly where I want it to be. As noted in the aforementioned post regarding this piece, the thick painted approach is one that I’m unlikely to use for the next piece. It’s an interesting style but one that isn’t suited to everything. Hence these weird paintings that seem to spontaneously appear and disappear with equal amounts of haste. I’m looking to challenge myself. Which, to be fair, is the entire reason I enjoy my creative efforts in the first place. But there’s no point in always falling back on things I know (or at least feel fairly confident) that I can do. I like painting weird creatures, too. Once I find one it’s almost impossible to avoid painting it.
On the other hand, I’m much happier with my work and rate of progression at the moment. I’m much happier with everything in general. I changed around my personal life substantially since the end of last year, which has led to me doing more things that I like doing and enjoying those things much more than I used to. That’s definitely helped me bring out the best in my painting. The acquisition of the Wacom Intuos Pro has certainly helped, too. But that doesn’t mean I’m going to switch to only digital painting or illustrating.

Traditional pieces will still be likely to appear.

I’ve just got quite a few pieces that I’d like to revisit which I think I can make a better attempt at now. To Ink a Deathclaw comes to mind. That would be interesting both because the thick painted approach would likely suit it quite well, and it would be one of the few digital attempts that has line work. Or I might just get rid of the line work with the finished attempt.

I’m not entirely sure if I’ll paint other beasts in Monster Hunter World. Some are kind of messy with indistinguishable details and others don’t really appeal to me, but I won’t say it isn’t a possibility. I might tackle one of their dragons. Both literally (if I happen to purchase the PC release) and figuratively. I might just paint a dragon because I feel like painting one. In either case, I’m quite happy with this piece and I think it fits with what I want my creative efforts (and my personal site as a result) to be. I’m also quite happy that I’ve been working on all sorts of things recently and I’ve still found time to start three paintings and finish two of them. The third is a secret. A secret which might need to be approached in a different way for me to be happy with it.

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.

Monster Hunter World, Astera, Paolumu, Anjanath, and all associated trademarks and devices are owned by Capcom.

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Fluffy But Terrifying

The cycle of fluffiness continues.

I’d also argue that the Paolumu is anything but terrifying. Quite adorable, in fact. But they are giant flying beasts that would more than likely swallow you whole if they got the chance… so maybe they are slightly terrifying. But, again, quite adorable, as their primary way to show aggression is to inflate their balloon neck. Which looks ridiculous and is not at all terrifying- unless you’re scared of balloons- in which case feel free to change your trousers at any time. I’m mostly fond of them due to their original design and their unique (and rather interesting) anatomy.

They’re also a great candidate to test my new brushes on.

I reckon you could make some rather nice brushes from their fur, too. In what could only be described as an entirely spontaneous decision I started to paint this majestic winged creature. I do that sometimes. In fact, some of my best work has been entirely spontaneous. Sometimes it’s nice to not stress every aspect of the painting and just focus on actually painting it.

I was also wondering how my new brushes would perform with a new piece. I’ve modified my existing set to include sharper, more precise, and more accurate brushes for those crisp lines. I’ve also added more texture to the flat brush I use often. I’m finding that these new brushes give me more freedom in some ways, more precision in others, and that they encourage more consistent blending. I’ve spent more time adjusting opacity with this piece, too. These are all things that are only possible due to my increasing confidence with digital approaches. I’m also no longer having to fight with the hardware, brushes, and canvas sizing to get the results I want. It’s about as close as I can get to mimicking traditional approaches but with digital tools.
I feel I’ve been bolder in my choice of colours for this piece. Not as bold as I’d like to be- but that will come with confidence. I’m also learning a lot about how best to approach layering colour and defining areas of an illustration or painting, which I could translate to traditional approaches. I’m quite excited to see how different my traditional work will be now. I don’t necessarily feel that either will get weaker as a result of focusing on one or the other. I feel as though they can only improve now. I just need to remember the limitations of each material.

I also miss ink. It allows me to add so many tiny (perhaps unnecessary) details.

I don’t know if this is an approach that I’ll continue to use in the future. I tend to think that each painting or illustration is unique, and, as such, requires a unique approach. I do want to have some consistency between pieces, though. Not having that consistency has caused me problems in the past. But I don’t know if this thick painted style is one I’d like to pursue for every piece.

I rather like how Older and Wiser has its own unique qualities and this piece is starting to develop its own unique qualities in kind. I’m also proud of the progress I’ve made in such a short time with digital painting. I’m far from where I would like to be, but, again, these things will come in time and with confidence. There’s no sense in rushing things. I also don’t know if the next piece you see from me will be the result of traditional or digital approaches. I’ve not felt this positive about my creative efforts in a long time. It’s refreshing- and exciting- and gives me hope for the future pieces I’ll produce. We may even see a few more from Monster Hunter World, too. They’ve got some incredibly colourful, meticulously designed, and anatomically interesting beasts.

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.

Monster Hunter World, Astera, Paolumu, Anjanath, and all associated trademarks and devices are owned by Capcom.

Older and Wiser – 2017 – Digital – click for full view on site!

Something old that’s new again

If you’re curious as to the reasoning behind this piece (or potential creative content plans) feel free to check out Fluffy Beak. Most of the answers are there. What isn’t there is a long-winded explanation about how the right side of the face was ridiculously more complex than the left- as it was- and it was frustrating. I probably spent a good two hours painting over it. After which I was somewhat satisfied with the result. Mostly. No, no- it’s okay. Really. That said, as a first attempt with my newly acquired Wacom Intuos Pro I’m fairly happy with the result.

I’ll probably never be entirely happy.

But such is the joy of creating things. Or at least it is with my brain that never lets me acknowledge my accomplishments. I’m slightly easier on myself when it comes to digital painting and illustrating, though. I’m far less experienced with it (as I’ve only invested just over a year into it) compared to traditional approaches. Which I’m not always happy with, either.

I will admit that replacing my older Wacom Bamboo with a Wacom Intuos Pro has made an indescribable difference. I’m not usually one to highlight such things as I don’t believe that tools can ever or will ever replace experience, dedication, and practised skill. But there are some upgrades which make all the difference. This was one of them. Mostly because I wasn’t continually fighting with the tablet, having to work with an exceptionally larger than necessary canvas to accommodate a lack of pressure sensitivity, or working on such a small drawing surface so each stroke was much truer to life. I’m also exhibiting some of the aforementioned practised skill as I’ve become more accustomed with the ways to paint digitally.
On that note, this entire painting is comprised of two separate layers. One for the majority of the colour work and the other for minor details. I’d have preferred to do everything on a single layer, but it is quite convenient to have a layer dedicated to all those adorable fluffy lines and squiggles. I think the approach works quite well, too. While it’s also somewhat reminiscent of traditional painting as you usually work with only one surface and can only work it so many times. Even acrylic paint (or other opaque paints) have a limited number of layers.

Otherwise it becomes too warped to achieve the desired result.

I’ve also avoided an entirely realistic approach for this painting. I think that the semi-realistic somewhat stylised approach has a rather unique aesthetic. I don’t know if I’ll move towards more or less realistic results in the future, but for now these results fit well with my traditional approaches. I’m hoping to be more ambitious with my use of colour with future pieces, too.

I wasn’t really expecting such a positive result from this piece. I wasn’t really sure what to expect. But I’m glad that I’ve been able to better define some areas of my creative efforts and work towards things I actually enjoy doing. That even includes minor things like making custom brushes or organising supplies. Each and every thing I can do to make creating easier to approach, more convenient, or more enjoyable is worth doing. Working on this piece in shorter sessions also helped me work around the time that I sometimes don’t have to spare. It’s nice to know that I don’t need to compromise to continue to work on the things, but can also make progress and develop my approach at the same time. It’s a lot to juggle at once, though.

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.

Fluffy Beak

An unexpected development.

Once upon a time it was cows and now it’s owls. They’re everywhere. This particular owl is a reinterpretation of a piece that once represented the culmination of my creative efforts and experience, which I hope will encourage the creation of many different pieces. It’s easy to see that I’ve not been happy with my creative efforts for a while. The reasons for that, however, are a little harder to see, which I will attempt to explain while talking about this work in progress. It’ll also serve as a good opportunity to talk about future plans for creative content.

Most of those plans will be tied to the aforementioned reasons.

As each reason highlights an area for improvement. Something that could be done better than (or at the very least differently to) how it is done now, which will hopefully mean that there will be more creative content and that it will be more diverse. You can reasonably assume that some of the older digital paintings which have faded into obscurity will make a return, too.

Most reasons relate to not utilising time (or other resources) effectively and therefore having less overall opportunity to work on things. I’m not happy with how much progress I’ve made over the last few years, either. Not to say that the progress isn’t there- but that there is very little in the way of finished pieces to demonstrate it. I don’t want to have endless quantities of somewhat finished sketches and attempted digital paintings. I want to finish things. For that reason, it’s important to invest more actual time in the process of creating things. Which I really don’t do now and I should. I’ve very few excuses for that other than that I always find an excuse. I need to stop doing that, too. Legitimate excuses do exist (like those of the last few months) but not in all cases.

It’s taking on a rather interesting shape.

This particular work in progress highlights a continued push towards finishing something. Over a few, shorter, less intensive drawing sessions of a few hours or so. In that way I’m rather proud of this piece. It has had significantly less time invested in it than Pug Life, but, in my opinion, looks that much better with more attention to detail. I’ve mostly settled on a semi-realistic kind of stylised digital painting approach. It’s also the first digital painting I’ve done with my newly acquired Wacom Intuos Pro and so I’ve got quite a way to go yet.

But it’s a pretty good first attempt so far.

It’s painfully obvious how much I’ve improved in my approach, too. Both with digital painting and with my creative efforts as a whole. Which may seem contradictory to the above statement about my progression, but it does illustrate (no pun intended) the point I was making. The progression is there but there needs to be pieces that are actually finished to demonstrate that.

Which, obviously, this piece isn’t finished, but it’s probably the closest I’ve had to being finished for some time. I’m hoping to change around the current creative content in January and if I’m successful in doing so then things will be very different. But I hope that most will agree that they’re better this way. I’m still particularly proud of the original interpretation of this owl and it is still an important piece, but I think it’s time to move on from it. To embrace new ideas and new inspiration. To use new materials and approaches both traditionally and digitally. To boldly go where no man has gone before. Oh- wait- that wasn’t what I meant to say. It might still work in that context, though.

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.

Comparison in Iron

Quite the comparison to make.

This is more or less the same idea as Comparison in Blood but it’s in reverse, which is more significant than you might think. It’s also slightly overdue as I’ve not been feeling well recently. I couldn’t really do much about that, though. I’d much rather have slept at some point in the last week. In any case, this was always a spontaneous piece and one that will remain unfinished for various reasons. But as a material study it’s actually fairly useful. It might not seem as significant as I’m suggesting but I assure you it has merit.

Mostly in bringing traditional and digital approaches closer.

Needs more fire.

Hence why I’m doing these slightly odd studies in the first place. In this case, I was mostly trying to see how much impact adding line work to the piece would have. This is slightly closer to what I’d do traditionally, too. But it’s still a laborious and overworked process, as I’m still of the opinion I’m doing extra work due to the limited technical specifications of my tablet.

It’s still a possibility that I’m entirely wrong about that assumption. I don’t think I am. But I wouldn’t rule it out. I’ve definitely learned new things as a result of these material studies, though. I feel as though my digital pieces are stronger and that there’s potential for better results in the future. How I’m going to go about achieving those results, what form they’ll take, and with which equipment is entirely open to interpretation at this point. I’m almost certain I’m going to invest in better equipment mostly because I’m curious. That’s as good a reason as any to spend a lot of money, right? You know what they say about curiosity and cats. I might not be an actual cat- but I’m covered in enough of their fur that I might as well be.

The biggest challenge of this comparison was to try and recreate something recognisably similar. Not exactly the same- but recognisable enough that you can at least see what I’m trying to do. Which I hope you can. Otherwise that previous sentence exists simply to exemplify my failures. Usually I’m just applying digital approaches to previously attempted traditional pieces, but this seemed like a fun change of pace. Mostly to see how different the approaches would look and feel once completed. Unsurprisingly, they’re incredibly different.

Needs more everything.

Probably better approached with ink, too.

But that was mostly a matter of time and not wanting to invest that much into something to be used as a comparison. I’m fairly confident in my ability to translate pencil to ink at this point. I’m scarcely using that for anything worthwhile- but that’s not important. What is important is that I’ve got my confidence back. Somewhat. I think there’s some left under the cat.

I apologise if this content feels disjointed or it’s not particularly what people want to see. I’ve always believed that knowing where you came from is important, that knowing where you’re going is equally as important, and that we should do our best to understand these things. Especially for those who create. We’re often more personally invested in our work and there are usually reasons why certain things appeal to us. Being able to utilise those- through understanding, learning, and experimentation- is incredibly important to our growth. We’re all going to fail at one point or another, but understanding why we failed and learning from that is infinitely more important than not.

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.

World of Warcraft, Warlords of Draenor, Blackhand, and all associated trademarks and devices are owned by Blizzard.

Comparison in Blood

Currently experiencing a low infestation rate.

Darkest Dungeon certainly brought one of the more original ideas for bloodsucking abominations to The Crimson Court. Vampiric in nature, but not necessarily undead, the Bloodsuckers (as they’re fondly known) are actually variations of humanoid insects. They don’t sparkle, either. That said, there is a consistent theme in the art direction for Darkest Dungeon that often combines beastly features with humanoid anatomy. The Warrens is literally filled with dozens of examples. Not to mention those weird, misshapen, infested souls that plague the Weald.

The humanoid features make them more interesting, too.

A malformed bloody maw.

It also leaves me wondering how or why they exist in the first place. Or when they first appeared. But this isn’t meant to be an explanation of Darkest Dungeon lore (as fascinating as that would be), it’s meant to explain some of the thoughts I’ve had recently. Or, at the very least, attempt to explain those thoughts. As I’m not entirely sure that I understand it myself.

I think I’m focusing too much on the result. This particular pencil sketch is one of the rare few I’ve liked of the work I’ve done in recent weeks, which says a lot as it isn’t of a very high quality. But I like the approach. I liked how natural it felt (and how confident I was) approaching it. I attempted to enhance the original sketch digitally for the same reason, as I don’t feel as though my approach to digital paintings or illustrations is particularly sound. I never really stopped to think about how I would normally do things. I just jumped straight into painting without line work and going for a mostly realistic approach, which, again, I don’t think was a particularly sound decision. So in two ways this piece is teaching me more about my creative pursuits.

Firstly, that by being focused on the result I’m losing a lot of what makes up the piece in the first place. I’m not thinking about how to achieve the best representation of the piece- I’m instead thinking about how to work towards a result that I want for reasons I can’t explain. Secondly, that perhaps I’m not as inexperienced with digital paintings and illustrations as I would have assumed. Maybe I’ve just been doing things in the wrong way and expecting (for some reason) to get the representation that I wanted.

You can almost hear the maddening skittering…

I’ve also not questioned my approaches as much in the past as I have recently.

I’m most curious as to why that is. I don’t exactly feel different, but I’m wondering if maybe this is foreshadowing a great period of creativity in my life and I just need to get past these hurdles first. Almost as if I realise the potential I could have and because I’m not living up to it I’m squandering it. As egotistical as that may sound. Not that it’s intended to be egotistical at all.

I’m quite happy with the piece, too. If that wasn’t clear. I’m not entirely sure where it’s going from here, but I would assume that I’m going to work on the digital version a little further and perhaps even expand upon the original sketch. That’s one of the neat things about digital illustrations. You can keep adding, removing, and adjusting endlessly until you get the result that you want. Which is equally one of the worst things about digital illustrations, as nothing is ever done and can always be approached again. I’m also surprised at how efficiently I’m working through this piece. I’ve not run into the usual issue of spending significantly more time for a fairly similar result, which, hopefully, shows some amount of growth within my approach.

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.

Darkest Dungeon, The Crimson Court, bloodsuckers, and all associated trademarks and devices are owned by Red Hook.

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.