Greatly Textured Horns

It’s easier if you squint.

Which is also true of the process to create such details in the first place. I’ve recently reintroduced my Copic Multiliners to my creative process, as the replacement Mitsubishi Uni Pin fine liners aren’t quite as reliable as I would’ve hoped they’d be. Great pens- but they run out incredibly quickly. Or seem to. Which isn’t too much of an issue as they’re fairly cheap, but even things that are fairly cheap become expensive if you’re continually investing in them. For example, I’ve already replaced the 0.05 pen three times since I started using them.

So I decided I’d take another chance on the Copic Multiliners.

They’ve always been great pens and they’re exceptionally reliable. That said, I did run into an issue replacing a nib and ink cartridge that made me slightly wary of them. But the new replacements have taken to the pens perfectly, everything is great, and as to familiarise myself with them again I’ve been doing ink sketching. You’d be surprised how different certain pens feel.

Or maybe you wouldn’t. But it makes for great tangential conversation, as it relates back to how much confidence you have with particular materials and much of that is derived from how they feel in your hand. Or how they react to certain types of paper. It’s particular evident in how you sketch with pencils, too. As you tend to lean on certain qualities of pencil to make it easier to translate those lines to ink, which, again, feels quite different depending on the type of pens you’re using. I notice that with Copic Multiliners I’m able to sketch finer details as I can actually translate those details to ink with them. The difference between 0.05 and 0.03 seems insignificant- but it’s there- and it’s very noticeable. Especially when you habitually sketch fine details.

It’s not only the horns that are greatly textured.

This particular sketch falls somewhere between a few earlier attempts and a finalised attempt with this approach. An approach that will likely include Faber Castell Polychromos at some point. I’m rather limited in my colour selection with those at the moment- but I’m sure I can work something out. I have got a small collection of certain colours. It’s also likely I won’t move straight to a finalised piece and more likely that I’ll do some more sketching. Trying to learn more as I go. But I’m fairly pleased with how the line work in this piece turned out.

I’m also quite pleased with the horns.

I don’t usually illustrate horns in this particular style but I do like them. I’ll be honest, I’ve never really understood how they work anatomically and some might argue that I still don’t. But I like ’em. They’re neat. The rest of the anatomy is fairly standard and muscular. Which is pretty much my standard. I even threw in a little armour to further my progress there, too.

It’s been a while since I’ve done larger pieces and most of that is down to my own perceptions of my inability to do so. Which, again, is partly due to my confidence. So I’m trying to work through new ideas that basically force me to do these things. Mostly because I don’t understand how arm anatomy works, either. So if I can cover that with armour I’ll be fine. I’m kidding. Mostly. This year has definitely been a learning experience, for better or for worse. I’m leaning towards it being for the better of my creative efforts as a whole. But you could also argue that I’ve wasted time pursuing some approaches that are less useful. That said, I’m starting to think that the side effect of being creative and being on social media is feeling like you’re never good enough.

Have a nice weekend, all!

Moggie

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 devices are owned by Bethesda.

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.

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!

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.