Wow, it’s been like a million years since I last posted here! There’s not really much to say about these, just a recent bunch of studies from old photos and movie/series screencaps painted as an exercise to familiarize myself with the medium. Cheers!
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Lets see some more dirty
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I didn’t get a chance to show you these before the show opened, but in addition to the paintings of dogs that I did for the “Animal Fare” exhibition at the Christopher Queen Gallery, I painted these two larger works.“Surveying The Hunt,” 20×30 in. oil on linen. $3000
This painting was the result of a friend of mine having a cool prop to use for a special occasion like this. I borrowed his (stuffed)fox and took it to a favorite spot of mine with an awesome view. I waited for the right time to get a dramatic staging, and shot plenty of photos. I started this piece in the studio, but I was able to work on this piece from life a couple of times, plus I did some color studies of the view. Once I got to finish the background, I was able to work on the fox from life. It wasn’t going anywhere.“Across Continents,” 20×30 in. oil on linen. $4500
This painting was made possible not from a trip to Africa, but from a trip a few hours north to a small coastal town named Point Arena. There you will find a place called the B. Bryan Preserve, which raises endangered African hoofed animals, like giraffes, zebras, and antelopes. These beautiful gentle creatures are sable antelopes, which are raised in the preserve. It is interesting to see them in a non-native habitat. I thought the Northern California coast would be an interesting juxtaposition to animals you normally only see in the African savannah.
It took some moving animals around in Photoshop, along with getting rid of some uninteresting pieces of reference to get the composition I liked. You’ll have to click on the picture to get an idea of the thick paint used to render the antelope.
Bonus! While dropping these paintings off for the show last week, I did a quick painting of a favorite spot of mine that I’ve not painted in two and a half years. This was my 3rd time painting it, and I believe it’s my best yet by far.
You can see the other painting I did there by clicking this link. http://themainloop.blogspot.com/2010/06/self-critique.html I have definitely improved a lot from the last time I painted there, most notably in design and composition. I would never paint as much of the extraneous foreground foliage today like I did back then, and I simplify much better now than I did back then.•
View original post: http://gorillaartfare.com/illustration/animal-fare-part-2-wild-animals/
Here is the first spread in my sketchbook along with an incredibly nice blurb from Guillermo!
You can pre-order the book here(pre-orders also come with a signed print until May 15th) :)
View original post: http://gorillaartfare.com/illustration/personal-demons-first-spread/
Ok, so I just approved the proofs and sent my very first sketchbook into production!My very first sketchbook ever!
Thanks to Dave Palumbo for all the advice!
Click the link to jump to the order page
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I’m not sure if maybe it’s better if I just stay in the shadows, but here I am making a post after all these measurements of time since the last time I’ve posted! I’ve been wandering around…going to faraway places, riding airplanes, avoiding the touch of strangers, crying myself to sleep…
Back in June I quit my job in Singapore and moved to San Francisco to study at the Safehouse Atelier, ran out of money, went back to Maine while I did some job interviews and more freelance work, and then moved [back] to Shanghai…I need to stop moving so much. Every time I move, I’m telling myself this, and then I end up moving again and again and again.
So, a while back I made a post on my personal artblog that was geared more towards getting presentable thumbnails [i had too many coffees] and then I started wondering… if I could take it a bit further and make a final image with a similar approach.
This has been sitting on my SSD since October already, and overall, I suppose I’d consider it a half-success at best. Maybe 1/3 succcess. I think it’s not really something useful, but I find it’s something interesting to think about.
The end result was hampered by my own ineptitude. Still need to sort out a lot of things in my head, and learn how do things work. There are also workflow issues if you don’t nail each step the first time. Going back and adjusting some things can be rather a bit inconvenient.
Layers of layers! I’m not sure this needs any explaining exactly. I think it’s generally a good idea to label your layers if you’ll ever need to go back to adjust them for any reason .Note that the grey fill and lines_copy are turned off in the end, as they were only a working aid…
I think secretly this might have been my main goal, actually…I thought it would be really cool to be able to swap out the patterns and have several ‘finished’ choices…like most things, it was cooler in my imagination.
View original post: http://gorillaartfare.com/illustration/i-tried-thinking-again/
I recently had the honour of exhibiting in a pencil only show with some of my favourite artists- Wes Burt, Joao Ruas, Soey Milk, Keita Morimoto, Andrew Hem, Karla Ortiz and more! It was a really inspiring show for me since I love the graphite medium, always have.
“Nectar” 33 x 53 cm, 13″ x 21″
Available at close to full size as a print for only $30 click the image to follow through to the shop.
“Weave” 28 x 35 cm, 11″ x 14″
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Last week the Plein Air Convention happened down in Monterey, which is a couple of hours away from me. I went down to hang out with whoever was going to be there after it was over. Fortunately I saw some good friends of mine from up north as well as locals and others. I met some new cool people, stayed out way late past my bedtime, and got to hear a lot of great things about the convention. Next year I’m going to go for sure. It’s too tantalizing not to.Here are some studies I made in the area in between having fun. All three are on 8×10″ boards.A 10×8″ oil on linen board study near the Ghost Tree in Carmel, CA.A 8×10″ oil on linen board study in Point Lobos, CAA 8×10″ oil on linen board study at Carmel Beach, CA.
View original post: http://gorillaartfare.com/illustration/crashing-monterey/
It’s been a long while since I posted last! and I’d like to jump back into it with this character/creature study for an upcoming publication.
It’s all graphite with a touch of guache here and there…
View original post: http://gorillaartfare.com/illustration/minotaur-in-progress/
Hey everyone, I built this paint box for my studio to replace the way-too-small palette I was using before. How they got the name “French Mistress” I have no idea, other than maybe the folks at Richeson were feeling bawdy in the naming office one day. Anyways, I took some photos along the way so I could tell you how I built this thing. The box holds a 16×20 sheet of glass for a palette.
Materials:Sheet of wood, at least 44″x18″.Pane of glass, 16×20″.6 poplar square dowels, 36″x3/4″.Wood glue.Wood finish.Shellac.2 12″ piano hinges.8 decorative corners(optional).2 brass toggle catches.Enough acrylic paint to cover a 16×20″ panel. Colors: white+black/umber/etc(your choice).Silicone caulk.Step 1: I planned out what I needed. I took a sheet of birch plywood that I bought from OSH, but whatever sheet of wood that you prefer should work. The one I used was slightly less the 24×48, with a 7/32″ thickness. I also got 6 36″ poplar square dowels with a 3/4″ thickness.Step 2: I carefully measured where I needed to cut the poplar squares down to the size I needed to make the parts of the box. I cut them down to these sizes:
- 2 21″-3/4″ pieces.
- 4 10″-13/16″ pieces.
- 6 17″-3/4″ pieces.
I then cut opposing 45° at the ends of each of these newly-cut poplar squares.Step 3: I cut the piece of birch plywood into 3 separate pieces:
- 1 21″x3/4″ panel.
- 2 10″x13/16″ panel.
Step 4: I then glued poplar dowels to the freshly cut birch panels. It helps to have C-clamps to make sure they adhere to the panels, if you have them handy.*Sidenote: If you want to make these into canvas panels, simply stop here and glue canvas to the front side of the panel.Step 5: I next applied several coats of wood finish to every exposed part of the wood with a bristle brush.
Step 6: Once the wood finish dried, I applied a couple of coats of shellac to each side of the panel. I then waited a few minutes for it to dry.
Step 7: I then screwed the piano hinges to the sides of the poplars so that the hinges fold inward. This will make sure the box closes shut. Be careful to line up the hinge with the edge so that the box closes straight.
Step 8 (optional): I screwed in 8 decorative corners to the box(4 on the bottom, 4 on top). Not only do they help protect the corners from getting banged up, but they add a touch of class to the box.Step 9: I screwed one brass toggle catch on each side of the box lid. This will make sure the lid doesn’t open if you move it.
Step 10: I like mixing on a toned palette, so what I did was take a mix of white/burnt umber/red oxide acrylic paint(well mixed, no streaks), covered one side of the glass, let it dry, flipped the pane over, then set it aside.Step 11: I spread silicone caulk and applied it to the sides and corners of the box, and an X in the center of the box.
Step 12: I set the pane painted-side-down into the box, let the caulk dry to seal the palette to the box, and lay some paint down on it!
Optional mods: I drilled a screw into the side of the right-hand box lid. When I slide my palette cup around the screw, it makes sure it doesn’t slide everywhere when you’re using it. I also cut 4 foam squares to glue to the corners of the lid. This will cushion the lid when you close the box, as well as help it the box top lay flat while closed.
Let me know if you have any improvements to the set-up! I’m all ears.
Bonus! Link to the Youtube video: http://youtu.be/D1YjqYtqbxg
View original post: http://gorillaartfare.com/illustration/build-your-own-french-mistress-2/