Thursday, May 24, 2012
Sunday, December 4, 2011
Wednesday, September 28, 2011
I know you'll all want to re-read my interview several times, but once you've taken in my awesomeness, Khuan has a lot of other great interviews that are really worth a read. So go ahead and peruse his website.
In all seriousness, I want to thank Khuan for the opportunity...so if you have a few minutes, head over there and check it out!
Link to interview: http://www.khuantru.com/2011/09/interview-with-derek/
Friday, August 26, 2011
Thanks for looking.
Thanks again for visiting my blog.
Monday, July 11, 2011
The top one is of an actor...can't really recall his name. I think it begins with a "T" or a "C" or something...just kidding, if you don't know who that is; either my painting is terrible or you don't watch many movies, especially westerns. And below that is a friend of mine, Dawn. Both paintings are done in one session each.
I've yet to learn how to justify an oil painting through a photograph, so please excuse my inadequacy.
Thursday, June 9, 2011
There's a great site out there, the Arc Museum, which can be found here:
There's several reasons why this site is fantastic, but for me, it's the large versions of master-works they can provide. This is great information for any artist, no matter what field of art you're currently working in. In the end, practice is practice...and under any realist/illustration out there, lies the foundation to properly render light and form, and these masters found on this website are some of the best in history. So if you haven't visited the ARC Museum yet, what are you waiting for?
Below are some of my attempts at studying master work, in either oil or charcoal. All master-copies are of William Bouguereau's pieces. Again, if you don't know who that is...go there (ARC Museum) right now and take a gander at one of the best realist painters who ever lived.
Tuesday, April 19, 2011
Since it's been a while, figured I drop in while I had a moment and pop some lunchtime sketchies in here. You know what they are, so I don't have to repeat myself. If you don't, just go back and check out all my lunchtime sketchies. You'll figure it out.
The cool thing is, I have a commission I'm working on which doesn't have any NDA's, so I can post it when it's done:) All I can say now is...it's in the steampunk genre, surprised? Probably not since I love steampunk.
Feels good to be back, at least for a short time.
Wednesday, February 2, 2011
Tuesday, February 1, 2011
Adding volume with light / dark values. Also starting to play with lighting reflections. This piece has a lot of reflective surfaces, which some might see as complicating the illustration. But I find all the little nuances of color to be fun and addictive.
This was a major step for me in the illustration. I started to correct a lot of it's failings. Like circles that weren't exactly round. This was due to the fact that the image started as a pencil sketch, which means I free handed most of the circles. I was able to get a very clear direction by this point, so then I went back to correct what I felt needed to be clear.
Adding hints of light here and there, some smoke to give the illustration life and trying to pop out the welder. He's not the top priority in the piece, but he is very important. Even at this stage, the crits I received all said he was getting lost. So how did I solve that? You'll have to wait for the final post on "the clockmaker".
Friday, January 21, 2011
The Clockmaker illustration isn't based in reality, but there are things that do exist, that I can use as a tool to allow the viewer to relate to the piece.
First off, being the "clockmaker" himself. As he is human, that will be the first thing almost everybody relates to in the illustration. And that goes for any illustration, humans are always seen first by the viewer...especially a face.
So my first procedure was to get a model who could dress and act as the clockmaker, while I took reference photos. I recommend getting some good lights (not expensive, but better then the set that can be bought at any hardware store) and a good camera. Both help a lot!
Next, I figured there are a lot of bent / spun / extruded metal parts of the Clockmaker illustration, and an old brushed metal lighting fixture worked perfectly for the reference. After I destroyed of course.
All you have to remember is try to position the lights is the same spot as your initial sketch and you should have some stuff you can work with. After I have those shots, I usually move the lights in areas I didn't think of and have the models in positions I didn't draw. You never know, there could be something that works better or what's more important...is quickly finding out what doesn't work:)
You might ask yourself; Why go through all this? Because no matter how many times you draw something, or have seen something...you never can really get all the details of the shadows/light and how they play off each other without reference. These steps might seem a little extreme to some, but all this helps me gain knowledge and experience. I might one day, not need to go through all this for every single illustration...but right now, for me, it's the best way to learn. And in my eyes, an illustration should have as much spontaneity as it does "process".
Thursday, January 6, 2011
And my next post will be about gathering references for "The Clockmaker", I promise. Just thought I should do another compilation since it's been a while.
Sunday, December 12, 2010
The first color selection I made was for warm colors, because I first thought of this piece as having a steampunk feel to it. I was pretty happy with the first round of color so much, that I had no intention of doing another. But, I figured, just so I can say "there's really no reason to explore other colors"...I started to paint a cool color scheme. This to me, pushed the piece into the sci-fi feel...amazingly only done with colors. Well after completing both versions and staring at them for some time, wouldn't you know, I couldn't make a call on which one I felt was better. Something that was very unexpected.
The only way to solve this was to turn to my fellow illustrators over at "Drawn Today", and see if they liked one more then the other. And the same thing happened, people liked both, and couldn't make a decision.
So the same solution was brought up by a couple of people...blend the two, having slightly cooler colors in the background and warmer ones in the foreground. It made sense. So it looks like the final painting will try to incorporate both color schemes.
Saturday, December 11, 2010
Usually, in my own work...I discover an idea or illustration after I've drawn it in my toned paper sketchbook. Sometimes, working out the some of the illustrations problems in my head or while I'm sketching. I used thumbnails sparingly, just for placment of values here and there. But from what I heard, it's all in the thumbnail.
With that inspiration and push forward I started vigorously scratching away in my small sketchbook while still @ Illuxcon. What was I searching for? At first I had no idea, but after a few thumbnails...an idea popped into my head. How about illustrating a clockmaker in the future or in a steampunk era. There's something about gears and machine work that piques my interest.
With idea in mind and pencil in hand I started again producing quick thumbnails to convey composition, idea and values. So with that, I give you only some of my thumbs below. Much more were produced, but I just wanted to give you an idea of what they look like.
After that last one, I figured I came as close as what I pictured in my head. The next step, flushing out the idea in my toned sketchbook.
Friday, October 8, 2010
As usual, more lunchtime sketchies to stack onto the pile. A lot of skulls and armor in this post, with a Rubens master copy to round it out. Each one took around 1 to 2 lunches. Pencil with white colored pencil on toned paper.