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.

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.

To Ink a Deathclaw

An ill advised pursuit at best.

The phrasing could be misconstrued to suggest that the deathclaw is getting a tattoo, which would also likely be an ill advised pursuit. Unless you’d enjoy being eviscerated by a colossal lizard in an irradiated hell. Then it’s probably pretty fun. In any case, this is a digital work in progress that doesn’t feature any actual ink- but it’s the best parallel I’ve got to lining a piece crisply and cleanly. In many ways this is also the complete opposite of what I’d do traditionally, lacking many of the intricate and busy details.

Which might not be an entirely bad thing, either.

I’ve wanted to try and use less details in some pieces to get a feeling of how that would change the presentation, composition, and level of quality. I wasn’t necessarily hoping to do this digitally, but when the opportunity arrived (and the original approach wasn’t working out) it seemed to fit. It does look incredibly weird to me, though. I’m used to lines and whatnot being everywhere!

It’s also taking a fair amount of time to get even the basic elements looking as I would like them to. This is nothing new with digital illustrating or painting for me, which is something I’m heavily considering the reasons for with each new piece. In comparison to traditional art many of these pieces take several times longer. In all the worst ways. This could be inexperience with digital approaches showing through, or it may be an indication that I might need a higher specification tablet, as I currently use a Wacom Bamboo, and I’m not sure if that’s meeting my needs any more. Normally I would refuse that suggestion as even being a possibility but there might be some truth to it. I’ve been thinking about upgrading to an Intuos at some point anyway.

That’s quite an impressive maw you’ve got there.

There is definitely a disconnection somewhere between my brain, my hand, and my tablet. Something isn’t working as intended. Which, again, could simply be that the pressure sensitivity isn’t as good on a Wacom Bamboo. I know it isn’t via the technical specifications. But I also know that you don’t need the best materials to create high quality art. One of the things that novice artists tend to assume is that they need the highest quality everything immediately, which, in skilled hands, does provide higher quality results, but will not immediately make you a better artist.

An understanding of fundamental concepts will always take you further.

Which is why I’m committed to seeing this through to the end. I’d like to know whether the problem exists within my approach (which is likely) or whether it exists as a result of my tools (which could be likely). In either case, I’m not going to invest in an Intuos any time soon and I’ve already made great progress over the last year with digital art. So we’ll keep going.

I do enjoy working with digital approaches and I see an incredible amount of potential in them. They’re also helping me appreciate my traditional pieces in a new light. It’s an interesting side step towards something that is fundamentally the same but provides a different challenge, which, hopefully if I pursue it further, will make me a better artist overall. I’m not really sure where this piece is going in the future, either. I will more than likely finish it as a lined piece. I’ve been talking to someone I know (who does great deathclaw pieces) to add some colour to it when I’m done. I think their approach would suit much better than mine would. It would also be a learning experience to see how they would approach this piece (likely differently to me).

Have a nice weekend, all!

Moggie

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

Fallout 4, Deathclaws, Super Mutants, Pip-Boys, and all associated trademarks and devices are owned by Interplay/Bethesda.

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.

January to March 2017

It’s a fresh new year.

I’ve been thinking about the kinds of content I’d like to share this year and these posts seem like a natural fit. I’ve always enjoyed writing them and I feel like they present an accessible summary of recent events, which, in this case, is slightly more gaming content than I would have anticipated. But I’m not too concerned about that, either. It’s been nice as I’ve enjoyed many of the things I’ve been talking about. Which is more than I could say for some of the things which have inspired gaming content in the past.

There have been quite a few JRPGs in there, too.

We started the year with Good Tidings, which reflected on my seasonal activities and the various ways in which I was unable to resist the temptations of the Steam Winter Sale once more. Before long we were talking about my Yearly Consistency, too. Turns out I’m a little more rigid than I would have expected! I’ve been assured by medical professionals that it’s fine, though.

While there has been more gaming content than creative there were a few notable posts for the latter. Mutant Deathclaw led into Anatomical Fish which allowed me to pause and talk about a Momentary Regret, but before long we were back with more creative efforts in Happiness Hat. There were examples of Multiple Attempts next which was followed by Pug Life. In many ways this has been a period that was oddly focused on digital painting, but there have been some traditional efforts in there as well. While I would have preferred to have more creative content in this period, I’m not that upset about it, as I’ve been able to reflect on what I’d like to do next, which should hopefully mean even better creative content in the future.

Gaming content started strongly with the Diablo III 20th Anniversary Event. The Darkening of Tristram was a limited time event which presented myriad challenges to undertake and achievements to earn, including one which required an entirely new character. I decided to give the Witch Doctor a second slot in my roster and you can read about that build over in My Curse Upon You! Which, oddly enough, became one of the most powerful builds I’d managed to bring together. I’m not sure that’s to do with her pets, either.

The damage over time spells are pretty ridiculous in their own right.

We also saw the conclusion of the Final Fantasy X/X-2 HD Remaster through both The Summoner’s Pilgrimage and Dressed for the Occasion. There was a brief return to the Hyperdimension Neptunia series, too. With the events surrounding the Journalists of Gamindustri and where there was Hope for Planeptune. Great JRPGs one and all!

I also explored the depths of a rather quirky and somewhat different ARPG in First Impressions of… Victor Vran. I took a break from writing posts about specific things for a moment to reminisce about the Smaller Parts of a Larger Whole. The conclusion to this period was Emotions are Prohibited, which looked at the intricately detailed and ridiculously enjoyable NieR: Automata that has continually surprised and impressed me. I’m still working through Route B, too. I’m nearly at Route C… there’s just so many side quests to do! There are also a number of weapons which could do with an upgrade. So I reckon I’ll be there for a while yet. Especially as I’m looking to complete all of the main endings.

Have a nice weekend, all!

Moggie