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

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Melty Black Goo

It’s a recurring concept.

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

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

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

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

He’s more goo than man!

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

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

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

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

Have a nice week, all!

Moggie

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

Ambitious Acrylic

Colourful mile markers.

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

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

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

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

Only the fluffiest clouds.

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

But that’s not a negative response, either.

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

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

Have a nice weekend, all!

Moggie

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

Mushroom Inspired

They’re really growing on me.

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

Tangential conversation at its finest.

Intricate and tiny mushroom details.

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

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

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

Inspired by the areas surrounding Davon’s Watch.

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

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

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

Have a nice week, all!

Moggie

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

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

Corruption Collection

Decaying souls housed in failing flesh.

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

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

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

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

I have a thing for trees. Colourful trees.

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

Or maybe I shouldn’t have myriad styles.

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

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

Have a nice week, all!

Moggie

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

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

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.

Happiness Hat

Guaranteed to bring a smile to your face!

I’ve been thinking about things recently. Mostly about the collection of sites, what I’m doing, what I’d like to be doing, and how best to take everything forward to balance the content output and the quality of the resulting posts. I’ve also been making small (but meaningful) changes here and there. I haven’t done much art in this period, either. There was a small flurry of posts related to digital painting which resulted in Momentary Regret, which was another setback to add to the innumerable list of them. But I still believe digital painting could work for me.

It’s just a matter of figuring out how.

"Half price bran flakes?!"

“Half price bran flakes?!”

Traditional art has been a little hit and miss, too. Which is entirely my fault. I’ve been thinking about changing a few of the approaches, styles, and materials I’ve used for some time. That decision isn’t particularly conducive to a consistent quality output, though. So I’ve been frantically sketching and doodling a variety of different things. Most of which never reach anything.

That said, there are a couple of those sketches in this post. The first is a standard abomination from the Warcraft universe, who is surprisingly health conscious and wears a rather dapper small hat. Likely stolen from a Worgen. Or from any race that would wear a top hat. It’s a little small mostly because they’re so large. But that’s what you get when you stitch something together from a collection of other, unrelated, likely deceased creatures. I’ll admit- it’s a little odd. But I wanted to do something a little less serious, a little less thought out, and a little more enjoyable. Just for fun. I’m still allowed to have fun with creative disciplines, right? It’s amazing how often you’ll find people suggesting you can’t or shouldn’t.

One of the things that this sketch did reinforce was the notion that ink is a pretty good material for me. I’ve been thinking about that a lot, too. It’s interesting how both pencil and ink appeal to different kinds of work I’d like to do. Then again, that’s also a situation which is entirely my fault. As I could have chosen to work with a couple of materials, but instead I’ve worked with quite the list. Of which I’m still enjoying the majority of them. So it’s hard to place which would be best for what and which would be the default choice.

That's a turban... not a bandage.

That’s a turban… not a bandage.

You really don’t want to stress about materials as much as I do.

Which then brings us to the second sketch. I’ve been wondering if it’s better to approach character concepts with pencil or with ink, there are arguments to be made for both and there are styles present for each. In this case the topic of choice was the Occultist from Darkest Dungeon. A character design I’ve always dearly loved and felt was particularly apt for their role.

One of the things I really like about this sketch is how it all comes together. Admittedly, the turban is a little wonky and probably wouldn’t fold like that. Also, the nose is a little odd. Likewise, there really isn’t much development in his clothing at all. But besides all of that- it’s not bad. If that’s even a logical sentence at this point. Then again, one of the points I’ve often emphasised for anything that I do is that it’s about the journey. That’s what we’re discussing here. The journey, the experiences, the better, the worse, and everything that goes with that. I’m not looking for perfection (not that I’d ever be likely to achieve that). Just consistency and enjoyment from creative disciplines. I think I’m getting closer, 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.

Darkest Dungeon, the Occultist, the Ancestor, and all associated trademarks and devices are owned by Red Hook.