Murky Lioness

It’s amazing what you find under cats.

That sentence may or may not be relevant in the second half of this post. It’s kind of relevant to the first half of the post, too. Given that she sleeps on my art desk quite often and I keep all of my old sketchbooks under it. But that’s okay. Every cat owner knows that everything they once owned now belongs to their cat. Including, but not limited to: expensive brushes (that they nuzzle), pencils (that they also nuzzle), paper (that they sit on), and erasers (that they knock off of desks).

I say this like I mind- but I don’t- it’s one of the joys of having a cat.

Just focus on the mouth. It'll be okay. I promise.

Just focus on the mouth. It’ll be okay. I promise.

The first of the two is one of the rare acrylic painting attempts from before this year. This was one of the first I had finished, as there was only one before it and I didn’t get too far with that one before realising I had no idea what I was doing. One thing that I noticed about this piece is how similar (yet equally different) it is to what I’m currently doing. It has strong textures, good attention to detail, and an emphasis on layering colours. That said- it is amateurish at best. Especially around the eyes. But it’s not without some degree of merit. Especially when you consider that I want to illustrate my artistic journey, which this piece contributes to by showing I always had some understanding of how acrylic painting worked.

It’s hard to recall exactly how this piece was painted. I don’t think I would have been painting from dark to light, as I currently do, as I likely would have followed a similar technique to the one I used with watercolour painting. It is interesting how there are slight hints of my current style in this piece, though. Just less refined than it currently is.

Which is one of the reasons that I like to refer to older pieces on a regular basis. More often that not you’ll notice slight hints of things which have come into play much later, almost as if you were always capable of doing those things but you weren’t able to bring them out just yet. On the other hand, it’s equally interesting to see how some things have evolved in ways you would never have imagined they would. Like with my pencil style. I’m definitely leaning much harder on a smoother, blended, less graphic style than I ever expected I would.

It's not like anyone has ever been eaten by a murloc before, right?

It’s not like anyone has ever been eaten by a murloc before, right?

This is where the second piece comes into play.

Those who know of Heroes of the Storm will know of Murky. The adorable, lovable, somewhat slimy murloc who would never consider eating you. Not for a second. This piece refers quite a way back to the adventures of Ol’ Hooty, who was featured in Aquatic Owl. The marriage of Faber Castell Polychromos and ink.

Blessed by fluffy bum cheeks, Murky came into this world with the same indistinct gurgling that he is known for wrapped in a style quite unlike any I’ve used before. It’s only because of the sketchy nature and size of the piece that it isn’t featured somewhere on the site. He’s well loved, too. It’s probably one of the best received pieces I’ve done in some time. The only slight drawback to this entirely consensual (and in no way shotgun) wedding is that I have limited colours. Which, unlike watercolour painting, or even marker illustrations, is actually a limiting factor. I can always lean towards subject matter that suits the colours I currently have, though. So there’s hope for more in the future.

Have a nice week, all!


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.

Heroes of the Storm, Mgrrglgrgl, Murky, Octograb, and all associated trademarks and devices are owned by Blizzard Entertainment.


Fishy Abomination

Something smell a little funky to you?

It’s logical why undead abominations smell so bad (being rotted corpses and all) but I wonder what a fishy abomination would suggest. Perhaps some kind of fisherman mutated into one of the endless legion of the undead? It’s a good question. One that I’m pondering for far too long. I wanted to bring together two entirely unrelated yet equally interesting pieces in this post. One of which won’t be finished, while the other is likely to see some kind conclusion be it in ink or as a digital painting. Or both.

The first was a watercolour painting that I started but was soon abandoned due to one of the elements of its composition going terribly wrong. Still, that’s one of the joys about turning failures into successes- you can always learn something new from them! Or wallow in unending despair. Not that I would suggest the latter.

Even if that’s how I usually respond to those incidents.

These are the eyes that stare.

These are the eyes that stare.

As with all of my watercolour paintings, there’s a good selection of colours in this piece and they’ve come together surprisingly well. I haven’t used these brushes much since I bought them. So they’re still a little finicky when it comes to actually applying the paint. As I’m not entirely sure how they feel. I realise that probably sounds ridiculous, but you really do get used to how the brush feels in your hand and you develop your confidence in your ability through that. Like any other material or tool, really. This isn’t the worst watercolour painting I’ve ever done, though. You should see some of my earlier attempts. Not that you ever will, for I shall hide my shame in the depths of my art folders for none to see.

The second is a work in progress that I’m not sure about. That said, what am I sure about? The only thing I’m truly sure about is that I’m not sure about anything. Yeah. You figure that one out. Referenced from the endless abundance of grotesque monstrosities hailing from Darkest Dungeon, this piece has a fair amount of potential and I’m actually quite interested in seeing flat colours applied to it once finished. Or, rather, if finished. The paper texture does something quite magical with it.

It seems to fit the style that Darkest Dungeon has. Maybe even throw a little shading onto it. Something akin to the way an older comic book or graphic novel would be illustrated. It’s definitely got potential and remains an interesting consideration while working on this piece, which could even change the approach I take to the line work from here on out.

I'm not sure what's wrong with him, either.

I’m not sure what’s wrong with him, either.

Obviously I can’t rework existing lines.

But I can adjust them ever so slightly. A stroke here, a stroke there, and slowly it will form into something glorious. Or start purring. That’s usually what happens when I apply strokes to things- most specifically cats- as they seem to like them. I would be slightly concerned if my paper or pens started purring, though. It might be time to cut back on the coffee should that happen. Or seek psychological help. Or both. Given the recent flood of creative posts, I felt this would be an appropriate time to share some things I’ve been working on (or have worked on before). Hopefully it won’t be too long before we see the finished version of the second piece (if there is one).

Have a nice week, all!


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 Caretaker, Swinetaurs, Templar Warlords, and all associated trademarks and devices are owned by Red Hook.

Aquatic Owl

The adventures of Ol’ Hooty!

Following Equal Opposites is another post in a similar vein. Except this time we’re looking at a range of different materials, which includes the previously discussed use of Faber Castell Polychromos with cartridge paper. The result is heavily carried by the use of ink but that could just be the subject matter. That said, it does have a texture which I’ve tried to preserve in the scanned version but remains a nuisance. Mostly because I think I’m used to not having that texture.

Not that it looks terrible.

It’s just that I think I still value bristol board for its smoothness. On the other hand, I would always encourage artists (of any level of experience) to try different combinations of materials from time to time. In the two-three hours I spent with this owl I learned a lot. Which is why it’s important to actually work on things, rather than just think about how they would work together and create assumptions from that. Mostly because you’ll never know unless you try. It’s not a combination I would avoid in the future, either. Just one that requires a different subject matter or a different approach to really come together. So it’s still useful even if not immediately so.

These posts remind me of the old Unreleased Artsyness sketch dumps I used to do. Which I wouldn’t be entirely opposed to doing again, but they’re kind of unnecessary nowadays as I tend to share a lot more of what I’m doing in a shorter time frame than before. But such is the evolution of distribution on this crazy artistic journey.

Mixed up confusion.

Mixed up confusion.

The leftmost sketch is a mirelurk from Fallout 3. An interesting if not ridiculously complex creature that may not be instantly recognisable- especially concerning their face- as I was working with three different pieces of concept art simultaneously. I also have no idea what a mirelurk face looks like. All I know is that (unlike the rest of their body) it is squishy and should be fired upon mercilessly. Those claws aren’t just for show- they hurt! They’re probably pretty tasty, too. That’s how I’ve always envisaged the consumption of mirelurk meat.

Again- not that it looks terrible.

But I don’t think I’ll ever be satisfied with anything that I do. Which is why I continue on this journey trying new things, combining different materials, and generally looking to improve anything and everything I do. It’s an impossible dream, too. I realise that. You’ll never stop learning unless you simply give up. Which I don’t really have any plans of doing any time soon. I’m still willing to give it a shot, though. Right in its stupid, squishy, entirely vulnerable face. Then I shall have crab claws for dinner! Unless they’re horribly irradiated, which they probably are given that mirelurks don’t look like any crabs I’ve ever seen. At least, not after I used the shampoo for two weeks. Weird times they were.

Mostly I’m just glad that we’re still seeing a steady flow of creative content coming through. I want to improve the level of quality present on my personal site, while I also want to bring more quality creative content to Moggie’s Proclamations (and even Twitter). It’s quite the investment, though. So it’s going to take some time to get everything under way.

Have a nice weekend, all!


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, Mirelurks, Molerats, Vault Suits, and all associated trademarks and devices are owned by Interplay/Bethesda.

Ink Reaver

Let’s talk about materials!

Traditional artists rely on their materials quite heavily. Not just in the sense that you have to be confident in the quality of the materials themselves, but that you have to understand how they work alongside other materials. Often that would be how ink or marker or any liquid media would work with paper and board. Will it bleed? Will it leave streaks? Will it warp/cockle (with liquid media especially)? Does it have a texture and will that texture affect how pencil, ink, or any other material will look and respond? There are a lot of questions.

Often times this will also be dependant on the technique and how you apply it.

Is it not as aesthetically pleasing due to the paper? Are the nibs not sturdy enough? Or is simply that the nibs are damaged? These are some questions I’ve had about Copic Multiliners. I’ve also had some bad experiences with them recently, as I tried to replace a nib and ink cartridge and it didn’t really go too well. Firstly, one of the replacement nibs didn’t even have a nib in the casing. Secondly, the second replacement nib wouldn’t go into the ink reservoir properly. The ink cartridge worked just fine, though. Still, this was a point of concern for me as one of the reasons I favoured Copic Multiliners was that I could essentially rebuild the pen rather than buy a new one.

Not that I’m saying one bad experience is enough for me to never use them again, as I already have a fair bit of money invested in them. What with the fact I bought four individually, I have multiple spare parts, and I’ve used them for a good six years and so have the experience as well. That said, I have decided to try the Mitsubishi Uni Pin fine liners.

I've wanted to try this particular style for a while.

I’ve wanted to try this particular style for a while.

I’ve heard good things about them from other artists. They’re also quite cost effective despite the fact that I don’t believe you can refill them/replace the nibs. You can pick up a five pack of pens at a further discount as well, which is particularly good as those five almost mirror the choices I made with Copic Multiliners. Trading a brush nib for a 0.8 nib. Which is perfectly fine as I don’t really like brush nibs all that much. It’s worth giving them a shot even if I don’t continue to use them in the long term.

I’d always recommend that artists try new materials every now and then.

I spent many years using Faber Castell Pitt Pens (something in the region of six-seven years) and they dictated my experience with ink pieces. I wasn’t as concerned with such intricate detailing at that particular time, but now that I have leaned towards that quite heavily the Copic Multiliners were a great choice. Especially considering the 0.1 and 0.03 pens provided the ability to add detail I didn’t previously think I could achieve. This may be a continuation of that cycle of learning more and understanding more about where this whole thing is going. It could also be a temporary reinforcement that the Copic Multiliners are still the best choice. That said, I did want to start a piece to give them a fair chance.

This piece (once finished) will also replace another that is already on my personal site. It may span two sections eventually as I am thinking about throwing some digital paint on it, using a style reminiscent of the one we saw with Draenei Paladin. But that really depends on whether I feel it is worth while at that point in time.

Have a nice weekend, all!


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 Caretaker, Swinetaurs, Swine Reavers, and all associated trademarks and devices are owned by Red Hook.

One Horn Bill (Ink) – 2016 – Ink – click for full view on site!

Don’t ask what happened to the other one.

That said, I’ve always questioned how such things occur. Do they naturally grow like that? Do they shed their horns after a certain point akin to us losing a tooth? Will it grow back? Are there any specific tribal or ritualistic reasons you’d want to have a broken horn? The questions are endless. It must be awful if you’re a fan of hats, too. Always having to make horn holes in everything.

This is an addition to the site I’ve been hesitant in making.

Not because I don’t like the piece- I do- it’s just that it was intended for other things. As explained in Bleeding Ink, this was a piece that was originally meant to be thrown together quickly to test some new marker styles. However, as time went on, that hasn’t really worked out as intended. Mostly because I can’t decide on what marker style I’d like to use. I would usually move onto something else at this point, but this does still hold a degree of significance as it is the bridging piece between Duriel and Slasher.

It also has a number of redeemable qualities of its own. So, while I am reluctant, I would prefer this to have some use rather than none, which is how we come to this point. I’ve also got a section on the site for just this sort of thing that I always forget about. It’s not entirely dead, either. I may come back to this with a digital coat of paint at some point. However, if I do, I’ll likely mention it in passing rather than dedicate a post to it. I am appreciative of each and every reader here, and I’d like to make a conscious effort not to waste your time with fluff posts or reiterations of existing content. It might mean a little less content than if I were to highlight each change- but I believe it’s better this way.So, what is there to say about this piece? It’s a demon. That’s about it. I’ve always wanted to do a high quality illustration of a bipedal hulking mass of demonic muscle since the early days of the first Diablo. The horns were important to the composition as I’d like to get better at rendering textures. The fact he’s missing one is… unfortunate to say the least.

I also don’t know why he has such a stylish beard.

I suppose when you spend your entire day maiming adventurers, carrying large quantities of gold around (which you will drop on death), and holding onto weaponry that you clearly never use (which you will also drop on death) you need to feel good about yourself. Probably get an awful lot of razor burn, though. I can’t see the denizens of hell having a highly sophisticated distribution system for cosmetics. But maybe I don’t know enough about them and so I’m prone to prejudice. I am the person tearing through their flesh and stealing their loot after all.

Don’t ask about the name, either. I figured I’d repent for some of my prior prejudice by giving him a nice homely name. None of this Bloodgorger the Impaler (with random affixes attached) nonsense. Not too keen on his nose, though. How does his nose smell? Like brimstone. Most likely. Then again, maybe I’m just fuelling my prejudice even further by believing these stereotypical things of him. Maybe he has a comfortable office job to support his growing family. Maybe he doesn’t even go to those parts of town where bad things happen. Maybe he’s the force of change hell needs but doesn’t deserve. Or deserves but doesn’t need.

Have a nice weekend, all!


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.

Unnatural Entities

Never trust anything with that many limbs.

I’ve collected a fair amount of references. I originally started collecting anatomical diagrams for various bone, muscle, and body structures but I’ve recently expanded that list to include many other wonderful things. Like the numerous high quality renders of/concept art for different video game characters, environments, equipment, and innumerable creatures. But you know what I don’t have any references of? Nature.

There’s no deep rooted conspiracy here, though.

For some reason it never occurred to me that I could employ those kind of references in the same way as the others I use. You see, the above collection of anatomical references (for all sorts of things) are used in the construction of various pieces. I never directly use any reference- nor do I attempt to reproduce it- but I do use them to keep things in proportion. Or to make sure things are the correct shape. Or to make sure all the muscles are where they should be. Following the same line of thinking, I set out to collect a small number of nature references. Trees, rocks, mountains, water, streams, and so on. Things that can help me with the shapes and textures found therein.

One of these is not like the others. One of these is different.

One of these is not like the others. One of these is different.

However, there is a slight problem with this plan in comparison to my current anatomical work. It’s been a while since I last consistently created scenic/landscape pieces, and so many of my materials and styles have changed. Which means one thing- scribbling nature sketches. Nothing finalised yet. Just something to get a feel for scenic/landscape pieces again.

One thing about a few of these is that I used a heavier paper in the form of bristol board (250gsm), which is notably smoother than what I would usually use for pencil work. It also doesn’t have a tooth and so I don’t get the blended shading I’ve come to rely on. That said, the lack of a tooth makes ink work. So there’s a benefit there. Many of these are also employing a multitude of styles in the same sketch, as I’m trying to get comfortable with the new ideas and references.

These are not the only things I’ve been working on recently.

I'm not sure even a mother could love this face.

I’m not sure even a mother could love this face.

I’ve also been toying with a rough ink sketch work in progress piece of Doom (2016)’s Cyberdemon. It’s an interesting monster- as are many of the monster models in that title- and one that fits nicely into this post. It’s following a similar style to recent ink pieces, but this one is much looser and was originally intended to be nothing more than a sketch. But I may work on it further. Maybe even throw some digital paint on it. Not that I would ever advise, nor suggest, you should throw anything at something this huge and menacing. Like I said in Archive of Experiences, I do want to create more interesting and diverse creative posts. I want to share things I’ve worked on that may or may not end up on the site. I want to share my experiences as it were.

I’m not sure when there will be any full scenic/landscape pieces. Or if I’m even going to attempt any. But I thought I’d share these results as I think they’re interesting, they’re different, and they’re not hulking muscular warriors with scars and sunken eyes. I’m sure you’re all getting tired of the half naked men/creatures that keep coming up in these posts. If you’re not- that’s good! It’s all I know how to draw anyway. Maybe I could draw some kind of hulking muscular tree man with sunken eyes…

Have a nice weekend, all!


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.

Doom, the UAC, Doomguy, Pinkies, Cyberdemons, and all associated trademarks and devices are owned by id Software.

Draenei Paladin – 2016 – Digital – click for full view on site!

Here’s something you don’t see every day.

Draenei Paladins are a weird bunch. How do they fit those hooves into sabatons? How do they wear conventional trousers? Why are they so tall? Why do the male models have disproportionate shoulder armour placement? Why do they (and Pandaren) get mysterious tail holes in their armour? There are so many unanswered questions surrounding our Burning Crusade brothers.

There was apparently an amount of controversy surrounding them when they were first introduced, too. I wasn’t aware of that. But, as the wiki says, there were people who considered them to not fit the overall fantasy theme as they were (believed to be) from space. Hence, the space goats moniker they adopted. However, I always got the impression they were well liked in the community. So maybe that was like every other controversy and fizzled out in time? Still, while my Draenei is a Priest, Draenei Paladins do hold a sort of significance for me.

Moggie wouldn’t be what he is without them.

Originally I’d played a lot of Horde over on Terenas but I felt it was time for a change. That change came in the form of a freshly rolled, tall, tentacled Draenei Paladin alt who was a lot of fun to play. Complex, too. Or, at least, back then they were. When I decided to make the switch to Kul Tiras I rolled Moggie and (thanks to that Paladin) he saw the Light. It’s funny in hindsight. When you look back on the things that inspired later decisions, they often seem insignificant at the time. Yet the repercussions are usually felt for some time to come afterwards. I would have actually rolled Moggie as a Draenei if not for the fact that the shoulder armour floats on the upper arm. Or, at least, it did. It may not now.
This piece was originally intended to follow in line with other ink pieces I’ve done recently. However, after tinkering with a work in progress scan, I decided I would maybe throw a little digital paint on it instead. I was also considering changing the shoulders for a brief period of time. (They’re based on the Paladin raid tier Lightsworn Shoulderguards.)

There were a lot of questions surrounding the style, too. I opted for three colours as opposed to the two I used in the test. I also worked with the full sized original scan for the final piece, which allowed me to employ the use of fine detail. Colours were mostly chosen from a selection of less than ten and everything was brought together to look similar. The Lightsworn Shoulderguards are not that shiny (or their model isn’t), but I thought it looked nice and worked with the style.

I’ve had a lot of fun working on this one.

I also feel like I’m coming closer to deciding on what my default choice of materials will be for new pieces. I feel like ink is a good way to go. I was originally thinking watercolour for all things gorgeous and colourful, but digital painting might be overtaking that. Oddly enough, pencil is falling quite far down the ranks of the default choice. Though, to be honest, using the 0.1 Copic Multiliner, I’m able to add so much detail to the piece that it’s kind of the obvious choice. Given how much I love detailing. In any case, we may (or may not) see another piece like this in the future. However, I think it’s a rather fitting addition to the site which feels very much like World of Warcraft should.

Have a nice week, all!


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, Draenei, Space Goat Paladins, The Light and How to Swing It, and all associated trademarks and devices are owned by Blizzard Entertainment.