Neither Man Nor Machine – 2018 – Digital – click for full view on site!

Like some sort of horrifically deformed cyborg.

It’s definitely more man than machine, though. I decided to exclude the harness from the finished version, which will hopefully put more emphasis on the anatomy and (most importantly) the face as these were the key areas of the composition. It hasn’t been the easiest creature to paint, either. But that was part of the challenge. Even with the original incarnation I wasn’t too pleased with some areas of the composition, but I still feel as though this is an improvement. It also helps me ease into some of the paintings I have in mind.

I’ve had to learn a lot over the last few months.

It’s hard to explain, but I’ve mostly reworked my approaches to digital painting as the new tablet is so noticeably different that I can’t use my old habits. They just don’t work. That’s why I’ve focused so much on how this piece has progressed from the early concepts to later developments, because I’ve had to mostly relearn digital painting in the last six months.

I’m most pleased with the skin texture and how it seems to cracking, bubbling, and peeling from their flesh. I’m least pleased with the teeth. I could never really decide what I wanted to do with them, and I didn’t like them as much as the sketchy almost non-existent teeth in the original concepts. This is one of many things that I’ll need to work on in the coming months. I know my understanding of all of the digital tools is limited, as I lack experience, so I expect to have areas of different compositions which could have been handled better, but weren’t for one reason or another. It’s definitely one of my better attempts regardless of any criticisms I might have. But then I’ll always have criticisms of everything that I do.
That said, I am quite happy that the majority of my work of late has been finished. Not only do I learn more about digital approaches with each finished piece, but they provide much needed creative content that is quite varied at the moment. We’ve seen everything from owls, to fictional beasts, to the no longer deceased. I’ve been itching to do more traditional pieces recently, too. But I’ve still got two digital paintings which are on their way. One has been started (and was actually started before this piece) and the second is going to be started soon.

The second should be quite good should it ever see the light of day.

The one thing that I lack at the moment is time. Not in the sense that I don’t have enough of it, but in the sense that I have so many things that I’m working on that even with an overflowing amount of it there isn’t enough. I’m using every hour in the day that I can without pushing myself to exhaustion but it still isn’t enough. It’s an oddly enjoyable feeling, though.

I don’t think I could ever be upset about an increase in the amount of creative content I’m producing. It’s just that I’m quite tired at the moment. I’ve been falling back into the old habit of letting the schedule dictate the content rather than the content dictating the schedule. That said, I’ve been actively working against that recently. It’s just a shame that this piece went through so many different iterations before reaching its conclusion. I’ve spent a good number of hours on this piece by now. Definitely more than I should have spent. But the result is agreeable enough and so I can’t complain, but I do feel as though I could have finished two paintings in the time spent on this one. I guess I’m just overstimulated by recent motivation.

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.

Advertisements

Unholy Evolution

I wasn’t expecting to go on this journey.

Not that I mind. In fact, I’m actually quite fond of this piece because it has helped me illustrate (pun intended) some of my more ambitious digital approaches. It’s interesting looking back at how the piece has evolved from the earlier stages where it was more of a painting, to when it became an illustration of sorts, to how it has now become a hybrid of the two approaches. I’ve mentioned before that each of the newer digital paintings has their own unique qualities and this one (unsurprisingly) is no exception.

That’s a sentence that is quickly becoming redundant.

Mostly because I don’t think any piece will ever completely follow the one that came before it. I’m of the opinion at present that the thick painted style that’s starting to show through in this piece will make a return, but perhaps it will be more ambitious or more conceptual in that attempt. I’ll more than likely lean on this approach more as I think it has a lot of character.

I mentioned previously that I wasn’t sure how I’d use the layers for this piece. That’s always been an interesting point for me as I feel as though the layers are part of the digital approach, but I rarely use more than two or three. That said, I’ve also heard many experienced digital artists say that layers (and brushes) are individual to the person. There are no requirements to have multiple layers and you can use just the one if you prefer. I think that has always made more sense to me given my experience with traditional approaches. But, at the same time, it’s quite nice to be able to section up some areas of a piece to make it easier to add or edit them. Regarding this piece, it’s mostly painted on a single layer with a few extra layers for convenience.

I’m particularly reminded of raw chicken skin.

I’ve rather enjoyed writing these posts, too. It’s nice to have creative content that looks at how everything has changed. I’d felt that creative content had become stagnant, but through these work in progress (and the material studies) posts the newer content is more interesting as a result. It also gives me the opportunity to talk about things in a broader and less specific way. I can then easily tie this all together with an image or three, which makes it enticing even if you don’t care about what I’m actually saying in the post. Which I hope you do.

But even if you don’t it’s not like you can’t enjoy the pretty pictures all the same.

I’m particularly fond of the evolving colour choice in this piece. I’ve tried to include more darker colours to enhance the lighter ones, and to suggest a better sense of depth and contrast in the piece as a whole. I’m not sure if it actually worked but such is the way of painting anything. You can never be entirely sure of how a piece is going to develop until it has done so.

There’s also a whole section of this piece that I’ve yet to paint. It’s not a particularly large section, but the harness and mechanical components have yet to be added and will be used to frame the piece quite nicely. I don’t intend to paint much of the jet pack, either. But we’ll see how that goes when I get around to it. It shouldn’t be too much longer before we see the final version of this piece, though. The rather drastic change that occurred between this and the last work in progress shouldn’t occur again. But even if it does this will be the last post regarding this piece until the final version is presented, as I feel as though there is little left to say now. It’s definitely inspired more content than I could’ve anticipated.

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.

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.

Toothy Grin

All smiles and sunshine.

Here’s a rather unconventional short post announcing that Revenant has made its way onto my personal site. If you’ve read Glossy Eyeball then you’ve got about as much information as I have on this piece, hence the lack of a full focused announcement post. I would’ve ended up repeating a lot of what was said previously and so I don’t feel that such a post is necessary. There are also very few changes between the version in the previous post and the version on site.

It’s still one of my better digital efforts in any case.

It was something that became more frustrating to work on the longer I worked on it. However, that is largely due to the fact that I had very little idea of what it would have eventually ended up looking like. Or, most importantly, how to reach that stage in the first place. In fact, several times I sat down to work on it I felt it would’ve been easier and made more sense had I used one of the many traditional materials I have. It certainly was an interesting and unique journey, though. One which was highlighted both here on WordPress and over on Twitter. I’d just feel like I’m cheating you all out of content were I to replicate a previous post with a fancy announcement thumbnail.

I don’t really have much else to talk about at the moment, either. I’ve been thinking about doing some minor site updates and/or improvements, but these are very much a work in progress at the moment. Whether I will actually make the changes, how much impact the changes will have, and whether they’ll get their own post remains to be seen.

Have a nice week, all!

Moggie

Glossy Eyeball

Bulbous and glistening in the light.

As you’ve probably noticed by now I’m always scribbling something somewhere. If this year has been good for anything it’s just that. It’s also a trend I foresee a continuation of, which is an incredibly good thing as I’ve been itching to do some new things here and there. That could also be where one of the cats bit me the other day- only time and possible infection will tell!

Curse these annoying itches and their itchiness.

This is a return to the delicious monstrosities of Doom (2016) in the Revenant. A ghastly cybernetic abomination who seems to have wires poking through their skin in all manner of places- even their intestines- which is probably awful for their digestion. Not that I’m sure they eat anything any more. However, unlike recent pieces, I went for a style quite unlike anything I’ve done before. Inspired by the sketchy rough-yet-detailed style of the original Guild Wars’ concept art which I’ve always loved.

This makes it something that’s quite difficult to talk about as I can’t really say what it’s supposed to look like. Or how it’s supposed to work. I’m pretty much going through this one completely blind while assessing the results as I go, making changes where necessary, and trying all manner of new things in the process. Not that it’s ever a bad idea to try something that you’ve not tried before. In fact, it’s been quite the learning experience for me as to what my digital style will likely end up being. I’ve always loved mixing colours on the canvas. This version of that is much more versatile as I can continually experiment with colours, brushes, and other elements and easily revert any unsatisfactory changes.

Look at those pearly whites.

Look at those pearly whites.

The lack of understanding (and/or confidence) in my digital style has definitely been a problem with these pieces. I initially felt it was a matter of having more experience with traditional materials, which it is to a certain degree, but it’s also that I’m more confident with what I’m going for with traditional materials, and so an understanding of my digital style is great.

I’ve also been questioning whether I should share this work in progress.

There are already a couple of work in progress Tweets over on Twitter detailing where the piece started and how it has evolved. However, I did say that I wanted to bring more interesting creative posts to Moggie @ WordPress. Those Tweets don’t explain my thoughts and methodology behind the piece, either. You might think I’ve gone plum crazy. Not that I think I’d ever go crazy for plums. Watermelons perhaps- but not plums. I’m also not entirely sure when this piece will be finished (or if it will ever be finished) and so I thought I’d share what I have.

If I have anything to say about this piece it’s that it’s unique. I honestly can’t say I’ve ever done anything like this before. It’s kind of funny but I’ve been through this process with the other materials over the years, and yet, in this case, I’m going through different styles and techniques rapidly. For instance, with pencil, I probably changed styles and techniques a few times over the course of five or six years. With digital that has accelerated to a few times over the course of five or six months. Either I now have a problem with consistency (I need a high fibre diet) or I’m able to visualise new ideas much quicker now. Or I’m not satisfied with anything I do.

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.

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!

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, Cyberdemons, and all associated trademarks and devices are owned by id Software.

Maximum Giblet Potential

It has been reached!

As the Steam summer sale rolls on and more tantalising deals are presented each day, it is at this time we can observe the wild Moggie in his natural habitat. At around 6pm GMT you will see him emerge from his leisure to peruse new deals, think about purchases, and ponder new additions to his library. Unfortunately, much to the sadness of the wild Moggie, there aren’t many new titles to purchase as he already owns pretty much everything he wants. Such is life. Such are the times of few releases relevant to his interests.

That said, I’m not without hope that I’ll manage to spend some money before this Steam sale expires like a red shirt on their first mission.

I’ve been pondering on the purchase of the Doom collection that Steam has generously cut a good 40% off of (which puts it at the price of the non-discount price of the first entry to the series). I’ll be totally honest and say that, as expected, as I have no FPS origins when it comes to gaming, I’ve never played Doom. I’d never played Wolfenstein until the very enjoyable Wolfenstein: The New Order was released, either. That said, I am getting a bit more attuned to the whole first person shooter-y thing. Especially when there are shotguns.

Let me tell you something about Fallout 3. I love combat shotguns. I suppose in their traditional sense they would be pump action shotguns(?) but they are pretty awesome. However, as I have noticed, shotguns can be a bit hit or miss (pardon the pun) in many games. But Doom seems to sport a rather sexy looking shotgun experience. Yes, shotguns can be sexy.

All of the above taken into account I’m only versed in the general classification of guns, though.

I know (generally) what an assault rifle is, a carbine is, a shotgun is, and so on. But if you get into the realms of say S.T.A.L.K.E.R. Shadow of Chernobyl where they’re based on realistic(?) guns then you’ve lost me. It has a clip or a magazine, it has bullets or shells, it has a barrel, and it tends to go bang when you fire it. Moggie gun knowledge exhausted.

From the point of pure fun, though? Doom looks like it has that in spades. That’s the first thing in my mind when I think of Shadow Warrior (2013)- it’s just a lot of fun. It’s fast paced, brutal, enjoyable, and it hooks you from start to finish. I think that’s one of the things about Fallout 3 that drew me back to it so many times. It’s fun to explore, to try new character types, to explore, to be a different person, and more. Kind of makes me a little sad that I can’t find many games that I really enjoy playing. Oddly enough there are some oldies in that list, too. Star Wars: Knights of the Old Republic? Frustrating at times but it was a wildly enjoyable ride. Sacred? I can’t count the profanities hurled at the screen but a solid experience.

If you’re wondering about the title… I have a juvenile interest in turning enemies into giblets.

It makes me happy. Not always. But it doesn’t hurt. Well, it doesn’t hurt me- I’m sure the enemies feel differently about it. I sometimes wonder if future employers ever stumble across this blog and that’s why I don’t ever get a call back. I think about a lot of things. It’s why my head hurts. Or so says my doctor who advises I do it as infrequently as possible.

Have a nice week, all!

Moggie