Horrific Resurrection

I always knew this would come back.

Those who have followed me for a while may remember the original attempt I made when painting this particular hellish creation. I don’t necessarily dislike the original attempt, either. It’s just that I always knew that I could do something that better represented the way I originally envisaged the piece, that, due to various reasons, never actually materialised in the finished version. Not that it was ever completely finished. That said, I do like the conceptual approach I took with the original attempt.

It also serves to highlight my progress with digital painting.

Which is an approach I’m still fairly inexperienced with. Each of the attempts I’ve made at digital painting earlier this year have highlighted something unique to those pieces, and this piece is no exception. It also marks the first time that I’ve attempted something that is at the very least slightly humanoid. Which helps me to ease into prospective digital paintings.

I’ve had many different ideas for digital paintings this year, too. Most of them are considered purely to leverage the benefits of digital painting. In that, unlike traditional painting, you have the capability to infinitely reattempt a digital painting. You can be much more creative with the composition, colour choice, or approach as well. As there is little to no risk of actually being unable to finish the painting at a later date. This process can be quite costly with traditional approaches. It also allows me to get used to working on a piece consistently over multiple periods of time, which is something that I will need to become more accustomed to with traditional approaches in the future. I can’t quite say when these traditional pieces will make an appearance, though.

That’s the face I make when I get a free coffee.

This particular work in progress is going quite well at the moment. I’m most fond of the peeling skin texture, which is not unlike frayed fabric and fits how I envisaged the skin to be stretched over the flesh. I’m also quite fond of the eyes. They’re a little more squishy and bloodshot than I initially intended but they still fit. They haven’t fallen out of their eye sockets at least. I’m pleased with the semi-realistic approach as well. I’m not sure how best to actually describe this approach, but that’s to be expected at this point.

I never know what to call anything that I do.

I’m not entirely sure how I feel about the colour choice for the exposed flesh. It’s a little too bright for my tastes. But that could just be because I’ve been staring at this painting for hours and need a break from it. I’ll decide later whether I want to darken those colours, lighten them further, or leave them as they are. I don’t really know what I’m doing with the exposed flesh.

I’ve been much more concerned with the skin and the general composition up until this point. I wasn’t sure if I’d continue with my usual single layer approach, or if I’d use two layers with one for the skin and one for the flesh. Each approach is useful but I still feel more comfortable with the single layer. That said, I do have my usual extra layer which is used for the little details and additions which I might decide against later. Which, again, is another benefit prevalent in digital approaches. You can easily add new colours or details and (if desired) remove them just as easily. I’m still quite proud of how my creative efforts have developed over this year and I’m looking forward to what I might do next. Even I couldn’t say for certain.

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.

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

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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.

Don’t make me puffy. You wouldn’t like me when I’m puffy.

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.

Greatly Textured Horns

It’s easier if you squint.

Which is also true of the process to create such details in the first place. I’ve recently reintroduced my Copic Multiliners to my creative process, as the replacement Mitsubishi Uni Pin fine liners aren’t quite as reliable as I would’ve hoped they’d be. Great pens- but they run out incredibly quickly. Or seem to. Which isn’t too much of an issue as they’re fairly cheap, but even things that are fairly cheap become expensive if you’re continually investing in them. For example, I’ve already replaced the 0.05 pen three times since I started using them.

So I decided I’d take another chance on the Copic Multiliners.

They’ve always been great pens and they’re exceptionally reliable. That said, I did run into an issue replacing a nib and ink cartridge that made me slightly wary of them. But the new replacements have taken to the pens perfectly, everything is great, and as to familiarise myself with them again I’ve been doing ink sketching. You’d be surprised how different certain pens feel.

Or maybe you wouldn’t. But it makes for great tangential conversation, as it relates back to how much confidence you have with particular materials and much of that is derived from how they feel in your hand. Or how they react to certain types of paper. It’s particular evident in how you sketch with pencils, too. As you tend to lean on certain qualities of pencil to make it easier to translate those lines to ink, which, again, feels quite different depending on the type of pens you’re using. I notice that with Copic Multiliners I’m able to sketch finer details as I can actually translate those details to ink with them. The difference between 0.05 and 0.03 seems insignificant- but it’s there- and it’s very noticeable. Especially when you habitually sketch fine details.

It’s not only the horns that are greatly textured.

This particular sketch falls somewhere between a few earlier attempts and a finalised attempt with this approach. An approach that will likely include Faber Castell Polychromos at some point. I’m rather limited in my colour selection with those at the moment- but I’m sure I can work something out. I have got a small collection of certain colours. It’s also likely I won’t move straight to a finalised piece and more likely that I’ll do some more sketching. Trying to learn more as I go. But I’m fairly pleased with how the line work in this piece turned out.

I’m also quite pleased with the horns.

I don’t usually illustrate horns in this particular style but I do like them. I’ll be honest, I’ve never really understood how they work anatomically and some might argue that I still don’t. But I like ’em. They’re neat. The rest of the anatomy is fairly standard and muscular. Which is pretty much my standard. I even threw in a little armour to further my progress there, too.

It’s been a while since I’ve done larger pieces and most of that is down to my own perceptions of my inability to do so. Which, again, is partly due to my confidence. So I’m trying to work through new ideas that basically force me to do these things. Mostly because I don’t understand how arm anatomy works, either. So if I can cover that with armour I’ll be fine. I’m kidding. Mostly. This year has definitely been a learning experience, for better or for worse. I’m leaning towards it being for the better of my creative efforts as a whole. But you could also argue that I’ve wasted time pursuing some approaches that are less useful. That said, I’m starting to think that the side effect of being creative and being on social media is feeling like you’re never good enough.

Have a nice weekend, all!

Moggie

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.

Mushroom Fluidity

Liquid mushrooms would be an edible oddity.

Not that I think liquid mushrooms would be edible and even if they were I would advise against trying them. Then again, we do have mushroom soup which is sort of like a liquid mushroom even though the actual soup is made of other things. This tangent is weird. Here’s an update on the works in progress present in Mushroom Inspired. They’re a little further along now, too. Two of them have been painted, while the third (which wasn’t present in the previous iteration) is still an inked sketch.

I doubt there will be further progress here, though.

I’m not entirely happy with the results so far. I don’t think that deathclaw even looks like a deathclaw any more, either. If it ever did in the first place. While I will admit that the reason I started this project was to improve my watercolour approaches, it’s not really working as intended as I think that the initial approach was flawed. It was too forced and inconsistent.

I don’t feel as though the original ink sketches were accurate to my ink approaches in general. Which is a considerable issue, as I’m trying to use an unfamiliar ink approach with a somewhat new watercolour approach. It doesn’t have any strengths. It doesn’t feel natural, either. This is an issue that is entirely my fault, but it’s probably best to move on from these pieces as I don’t really feel like they’re adding anything to what I’m doing. I just feel frustrated when working on them. Almost as if I’m fighting myself to finish them. It’s a shame as I’ve used a considerable portion of expensive paper to be met with failure, but the worst failures are the ones that you can’t learn from and I can definitely learn from this.

One step forward and two steps back.

The third ink sketch is a Fallout 4 deathclaw which has notable strengths and weaknesses. Most of the strengths are in the lines and the textures (especially the horns) which look great, but is equally as weak in the overall presentation. My original intention was to work on numerous smaller pieces to more rapidly gain experience. However, in practice that probably wasn’t the best approach. Especially as I’ve hit several walls actually composing the ink sketches to begin with. It has not been as easy of a run as anticipated.

I’ll likely work on larger pieces for the next run of watercolour paintings, too.

I’ve also been wondering if I’m putting too much pressure on myself for certain results. I’ve noticed that my general enthusiasm towards a piece lowers greatly when things aren’t going as planned, which, again, is an issue that is entirely of my own creation. I have departed from my usual approaches with several materials and I don’t think it’s doing me too many favours.

However, it does promise better things in the future. I’m just starting to wonder whether the promise of future results is worth sacrificing all of the current ones. Or if it’s even possible to reach those future results if nothing is working out currently. It’s an interesting issue, which I hadn’t really considered when I set out on this weirdly infuriating journey. I’ve learned an awful lot about myself creatively, too. Which is always a nice bonus. I’ve started to notice weaknesses I hadn’t considered before. It’s understandably frustrating, but I’m still hoping I can come away from this with a positive push forwards. I’m still mostly happy with how things are progressing so it’s not entirely awful just yet. But it is getting there slowly.

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 de

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.