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.

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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.

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.

Multiple Attempts

There’s definitely a trend in my digital painting attempts.

They’re either animals or trees. For the most part. That said, I wanted to bring this compilation of unfinished pieces together so that I could share some of the efforts I’ve hinted about in posts such as Momentary Regret and Happiness Hat. It’s easy for me to explain them to you- but it’s easier if you can see these attempts for yourself. It may also help you to understand why I feel the way I do about some of these. You can also see the follow on from Anatomical Fish. As one of these was the painting that I switched to.

You might also wonder why I’ve never finished these pieces.

I do, too. But I’ve discovered that I’ve been looking at things the wrong way around. Or at least I feel like I have. As I have concerned myself with the presentation of the content for a while, but I’m starting to notice it’s the content (or lack thereof) which is the actual problem. That’s why some of the small changes I was going to make never came to fruition.

I started to realise that I could change around the presentation infinitely but it wouldn’t quell the disappointment (for lack of a better word) that I felt regarding the content itself. Therefore, I’ve started to work towards finishing more pieces. Some of which have been sitting around for far too long. Like the subject of Building an Abomination, which I’ve repeatedly put off working on for various reasons and it’s still unfinished. I could make countless excuses but I won’t. That said, I enjoy the aforementioned posts which bring together things I’ve been working on and I think they illustrate (pun intended) my creative journey nicely. So I’m not looking to lose those posts entirely.

They're a colourful bunch!

They’re a colourful bunch!

I’m just hoping I’ll be able to commit myself to more finished pieces. It’s something which I feel I’ve let myself down with more than anything. That said, I can’t control the myriad situations which have put me in this position in the first place. But, again, that’s no excuse. It’s a problem I’ve created and one that I’ll need to fix. In happier news, I’m rather enjoying the selection of pieces in this compilation which highlight some of my best digital painting attempts. There are some we’ve seen before and some we haven’t.

Those we have seen are a little different now, too.

On the other hand, I’ve also included a couple of traditional painting and illustration attempts. One was a painting which was sort of finished but I wasn’t too happy with the outcome of, the other is an illustration that combined a dozen different styles into one very confused piece. Both taught me something, though. Which is all I can really hope for from an unfinished piece.

It’s also an interesting compilation as there many different styles present in it. It highlights the rather eclectic nature of my creative efforts. I rather enjoy that about my various pieces, but I am starting to wonder if that’s causing me more problems than I realise. That said, through some of these unconventional styles and approaches I’ve started to understand things about my creative process I hadn’t realised. Like how I tend to ink things with incredibly stiff and rigid movements. I don’t have the fluid, loose, expressive approach that I use when I’m sketching with pencil. It’s an interesting realisation. Mostly because I hadn’t noticed that despite the similarities between the application of materials my approach changes drastically.

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.