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!


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


Unnatural Entities

Never trust anything with that many limbs.

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

There’s no deep rooted conspiracy here, though.

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

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

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

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

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

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

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

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

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

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

Have a nice weekend, all!


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

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

Not Mushroom Inside – 2016 – Pencil – click for full view on site!

Who ever lives here must be a pretty fun guy. (I promise I’ll stop.)

An interesting choice for one of the first pieces of 2016 but one that brings back a few memories. I’ve not done much landscape/scenic work since early 2009 and I have only one piece on the site at the moment (Lost in Time), but it’s something I’m very keen to get back to. However, as with most other subject matter, it’s a combination of feeling like the particular material and style fit the intended result for the piece. I’ve started to lean closer towards pencil simply due to this (fairly) new paper which gives (most of) the results I want.

I’m also happy I could work a silly pun into the title of this piece.

Originally inspired by the fantasy elements of titles like The Elder Scrolls III: Morrowind or the locations like Zangarmarsh (World of Warcraft), this is also fuelled by a personal fondness for mushrooms and close attention to detail. I’ve always felt that landscape/scenic pieces are especially good for telling a story with how you arrange/display the elements within the piece. Housing, burrows, rocks, fauna- everything adds to the atmosphere- and allows you to give a very different feeling with different arrangements. This is a smaller, more conceptual, narrower piece but I like to think of how I could translate these elements to a broader and more expansive piece.

I’ve had a few ideas of how I can apply heavy detail to certain elements while breaking into blended shading in others. Through this piece I can now see this is entirely possible. But it does need some refinement. So in the next piece that follows this idea I’ll be trying to improve, experiment further, and generally push what I do to get the best possible result.
It’s oddly ironic that I chose to do the updates to the collection of sites at the same time as I started this piece. Mostly because, as I’ve gone back over those pieces, I’ve seen all the different ideas I’ve used in the past. Some I’d forgotten were even on the site. Some that actually awakened some feelings in me that were mostly dormant up to that point. I don’t know, it’s an odd feeling to say that working through my own work has taught me something new. Considering most of these pieces fall between 2008-2013 where I was still shifting heavily from piece to piece.

I’m happy about it, though.

Nice to see that it is illustrating (pun perhaps intended) the progression of my work. While this piece will slot itself in nicely and show how I’ve changed in composition, style, technique, approach, and use of materials between here and Lost in Time. I just wish there were more forms of comparison. But we can’t have everything. Still, I think this is a pretty good start to 2016 and one that I hope will continue in the coming weeks and months. I’ve had a few ideas as a result of those updates that I’d like to try (or at least start) in the next week or two. As always, information relating to those ideas/pieces will be coming through Moggie’s Proclamations where appropriate.

I’d say this one leans heavier on the side of fantasy than not. You can draw your own conclusions about who lives here (or if anyone lives here), if it’s tiny, if it’s huge, if it’s for a particular species (which would probably relate to size), or you can just enjoy the fact it’s a giant mushroom which is also a house. Don’t you wish you lived in a mushroom?

Have a nice week, all!


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