It is difficult to speak about injustice without getting choked up. I will just say that I’m happy to celebrate freedom everywhere.
The above illustration was created by myself in Autodesk. I sketched the outline shape by tracing a photo of a person from Instagram. I sketched the outline in black pencil and overtop a white background.
Using a base coat of a skin coloured tone, I continued by airbrushing a colorful palate over the eyes, cheekbones etc., of the face.
After colouring in the skin, I re-outlined the entire figure with a lavender-violet ink pen. After completing the illustration I changed the previously light coloured background colour to a black one. By inverting the background colour, the illustration looks like it is floating. A black background also evokes the idea of the echo concept I have been exploring in my paintings. I really enjoy the look of singular images against black negative spaces.
This illustration is one where I used the same technique, except the end result was to invert a previously black coloured background with a lighter sand coloured one. The colouring
I used myself as the model for this sketch. My hair is not pink, so I took some liberties. I think that the eye direction is a bit off,but that the likeness is on point.
This is another illustration using the same technique. The model is another person from Instagram (king_cannibanoid). I mainly use a variety of hard and soft airbrushing techniques when adding colour to my illustrations. I enjoy building layers of colour that lighten gradually to create depth and shadow.
I continue to find immense calm and tranquility with illustrating things I find around the web, and life. Thank you for stopping by to check out what I have been working on.
My latest work is a gold trident with a textured surface. The piece is 11 x 14 inches and is entitled: Neptune’s Trident.
I started off with a free hand sketch of a 3 pronged shape. Using a ruler to outline the sections, my aim was to ensure a shape that was as “un-lopsided” as possible. Without a symbol to trace, or a rough draft on graph paper it was tricky to conceptualize this shape.
Once the shape was sketched on the canvas, I furthered my experimentation with texture by shaping a thin outline along the edges of the trident. I used a technique similar to the one used for decorating cookies with royal icing. Stiff and dry texturizing compound along the border wall, to contain a more watery texturized mix that was flooded into the body of the shape. You can see that this approach has its drawbacks since the relief of the borders seems to be much higher than the inner body. The higher relief along the border contributes to an unevenness generally.
One of the the things I learned from creating this piece was the need for neatness and order! As you can see, each tip of the trident should be much more “pointed”, yet they are uniquely different. This is because of my sketch that was lacking a cleanly drawn plan for where to apply texture on the canvas.
The result leans farther towards the abstract than I would have hoped for. This current study of work is based on dream-like apparitions of images, and symbols coming out of the darkness like an echo. I think that “Neptune’s Trident” is a perfect example of what I am trying to achieve. I am excited to begin working on my next project in this series.
My latest 10 x 10 inch// 25 x 25 cm acrylic on canvas continues my study of singular-focused images against black negative space. This piece features a heavily textured triangle shape that is entirely golden.
I took photos of in the light, and so the shine of the black acrylic paint allows the viewer to also see raised texture floating in the blackness. Here (below) is a shot with the brightness turned down, and the contrast brought up to maximum. The painting has a much sexier look with the adjustments- and I think I will (one day) invest in the services of a professional photographer to capture my work.
What a haunting image
The intent behind this piece was to depict the fading light of a distant dying star. The glow is homogeneous and the texture is as even as I could apply it. It reminds me of a ghostly apparition. Something emerging from the darkness that has an unknown origin.
If I could change something about this piece, it would be the lack of clean and sharp lines. I will work on honing my sculpture skills in the next piece. This style needs to be explored, and I have quite a few ideas I’m very excited to implement.
Thanks for stopping by, and please check in again soon to see what I have been working on.
My latest work is a small 12 x 7 inch acrylic on canvas featuring pink and gold.
The white cloud border was applied as an overlay for the background after the entire area was painted.
I used acrylic calcium texture along the borders of this inkblot. I say inkblot because my first choice of using “swoosh” to describe the shape of pink and gold fields atop negative white space did not seem descriptive enough.
This is one of the first times I have used white as a negative space in my work. I think I avoid it because I always think white space on canvas seems unfinished. Alas, there is so much going on in this piece, that it demands a closer look.
I frequently see miniature scenelettes in my work. It is a byproduct of my process, and something that I feel passionately about. The feeling of creating where nothing existed before, is thrilling for me.
You can see this piece: Cotton Candy Nebula as a digital print on www.spacearttshirts.com as part of the newest collection.
This abstract ocean landscape shows a violent storm wherein waves crash against each other amidst a dark and treacherous sky. Swirling patterns of dark storms lurk in the background, and as a result, the waves are exceptionally high.
At the peak of the tallest wave, water pierces through the barrier that separates the scene from calmer sunlit tranquility. The break in the barrier allows glimpses of majestic gold to cascade outward and spill into its new habitat.
The ground work for this piece was an acrylic pour within which I used swirling techniques for the deep blue background. With the foundation laid, I used various hues of blue to form and shape the ocean wave.
Gold acrylic creates a beautiful contrast against blue, and is spread out as flecks across the piece. This piece is very beautiful, yet very abstract due to the risks taken to achieve the composition. I would really love to hear what YOU see in this very vivid piece.
Leave me your thoughts in the comment section, and as always, thanks for stopping by,
I used an acrylic pour method as the background; mixing white and silver as the colour for waves splashing on the coast. If you look closely, you can see a high tide wave emerging from the lower left side.
As the acrylic pour developed: a coral-like branch protrudes out into the heart of the painting. The branches have a fractal quality to them, which pull the eyes deeper in.
Over the vista, and through the green limbs of an alien-looking cactus plant; two moons co-orbit the sky. The presence of two moons makes evident that this abstract scene takes place on another world. In my imagination, the piece looks out from the reeds to the sky on a clear night. In a warm atmosphere, an ocean wave washes on to the shore sending water splashing up into the night sky. The oddly shaped plant is my favourite part as it is totally imperfect, but works well with the painting’s alien theme.
My latest piece is a celestial depiction of a star collapsing into a black hole. The star is made of reams of silver and gold metallic paint. I used blending and pouring techniques to combine the dark and light areas.
The above shot was taken as the first layer of the piece dried. You can see the reflection of my light in the surface of the poured blue acrylic.
The endless abyss of blue holds a dark depth at its heart, and you can almost see the ghost-like human face that sits in the background like an echo.
Thank you all for your comments, and as always, thank you for visiting.