Fishy Abomination

Something smell a little funky to you?

It’s logical why undead abominations smell so bad (being rotted corpses and all) but I wonder what a fishy abomination would suggest. Perhaps some kind of fisherman mutated into one of the endless legion of the undead? It’s a good question. One that I’m pondering for far too long. I wanted to bring together two entirely unrelated yet equally interesting pieces in this post. One of which won’t be finished, while the other is likely to see some kind conclusion be it in ink or as a digital painting. Or both.

The first was a watercolour painting that I started but was soon abandoned due to one of the elements of its composition going terribly wrong. Still, that’s one of the joys about turning failures into successes- you can always learn something new from them! Or wallow in unending despair. Not that I would suggest the latter.

Even if that’s how I usually respond to those incidents.

These are the eyes that stare.
These are the eyes that stare.

As with all of my watercolour paintings, there’s a good selection of colours in this piece and they’ve come together surprisingly well. I haven’t used these brushes much since I bought them. So they’re still a little finicky when it comes to actually applying the paint. As I’m not entirely sure how they feel. I realise that probably sounds ridiculous, but you really do get used to how the brush feels in your hand and you develop your confidence in your ability through that. Like any other material or tool, really. This isn’t the worst watercolour painting I’ve ever done, though. You should see some of my earlier attempts. Not that you ever will, for I shall hide my shame in the depths of my art folders for none to see.

The second is a work in progress that I’m not sure about. That said, what am I sure about? The only thing I’m truly sure about is that I’m not sure about anything. Yeah. You figure that one out. Referenced from the endless abundance of grotesque monstrosities hailing from Darkest Dungeon, this piece has a fair amount of potential and I’m actually quite interested in seeing flat colours applied to it once finished. Or, rather, if finished. The paper texture does something quite magical with it.

It seems to fit the style that Darkest Dungeon has. Maybe even throw a little shading onto it. Something akin to the way an older comic book or graphic novel would be illustrated. It’s definitely got potential and remains an interesting consideration while working on this piece, which could even change the approach I take to the line work from here on out.

I'm not sure what's wrong with him, either.
I’m not sure what’s wrong with him, either.

Obviously I can’t rework existing lines.

But I can adjust them ever so slightly. A stroke here, a stroke there, and slowly it will form into something glorious. Or start purring. That’s usually what happens when I apply strokes to things- most specifically cats- as they seem to like them. I would be slightly concerned if my paper or pens started purring, though. It might be time to cut back on the coffee should that happen. Or seek psychological help. Or both. Given the recent flood of creative posts, I felt this would be an appropriate time to share some things I’ve been working on (or have worked on before). Hopefully it won’t be too long before we see the finished version of the second piece (if there is one).

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.

Darkest Dungeon, the Caretaker, Swinetaurs, Templar Warlords, and all associated trademarks and devices are owned by Red Hook.


All of these are different yet similar.

I’ve wanted to do a post like this for a while. One of the things I’ve tried to do with my personal site is to create an artistic journey from where I started, to how I’ve developed, through what I’ve tried, and (finally) to where I’ve ended up. Or at least where I’ve temporarily ended up. If I know anything about myself with any degree of certainty it’s that I always change. I always look for something new. Be it a different material, a different subject matter, or a different style.

DiversificationI’d like to think this post will capture a glimpse of that journey. It’ll also highlight some of the older pieces that some newer readers may not have seen yet. As always, there’s a whole heap of creative posts over on the Creative page so feel free to stop by and have a read! You might find something you like. (I hope you’ll find something you like.)

DiversificationOver the last ten years of traditional art shenanigans I’ve tried a wide range of materials. I’ve also changed my style(s) quite consistently, looking to keep each material unique and interesting. Trying to use each one in a way that would be instantly recognisable. Some of these pieces have influenced the development of my style(s), too.

DiversificationI’m glad I was able to fit in some fantasy pieces. I do, however, wish I could have included some scenic/landscape pieces. That said, while scenic/landscape pieces were prominent earlier on (2006-2009) they’re pretty scarce these days. If I’m entirely honest about it- I just really like trees. That’s all there is to it.

DiversificationStill, as is the point of this post, there’s quite a bit of diversity here, drawing from a range of different inspirations. I’ve certainly adopted more inspirations over the years. Can’t say as that’s a bad thing, though- more things to work with as I create newer and more interesting pieces. Which I hope to do for some time to come.

DiversificationIn any case, I hope this has been an interesting change of pace. I’ve never really done anything like this before. Whether that’s a good or a bad thing is up to you. I liked it, taking more of a curator approach to my own work and highlighting some of the things I’ve really enjoyed. We may see another post like this at some point in the (distant) future. It’ll take some time to work towards another collection of pieces like this. 2016 is certainly looking like the year for it, though.

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.

Guardians of the Galaxy, Groot, Rocket Raccoon, and all associated trademarks and devices are owned by Marvel Comics.
Dead Space, Necromorphs, Isaac Clarke, Plasma Cutters, and all associated trademarks and devices are owned by Visceral Games.

Highlight – Grotti v2 – 2011 – click for full view on site!

Though the fish in question has gone to that great fish tank in the sky she was always a beautiful and friendly girl.

I do art. You know that, right? I would forgive you if you had forgotten after how long it has been all about gaming and not so much about the creative side of things. I think this piece was the first one that really allowed me to see the potential of watercolour in a style that I could manipulate. For some reason, most likely due to detail, I figured that the combination of ink and watercolour would be a good idea and I wasn’t wrong about that. I continued to develop this style in a myriad of ways with The Sacred Cow (highlighted previously) and others.

I had done the first version in pastel (and no you may not see it) and it wasn’t really hitting the quality or the result I wanted. I was thinking about other things I could use and how I could get the desired result and I narrowed down that I needed bold, flowing, expressive colours. What did I have that could do that? Watercolour!

In my usual way of doing things I started by dissecting the colours and trying to find a collection of colours that allowed me to achieve the desired result. Of course, until you added the grey and black markings, this was just the oranges and the light pinks. While the addition of the darker markings was the point where I thought I’d be scrapping this piece and it would never see the light of day again. However, the brushes were in my favour and I managed to pull off the desired result without destroying anything in the process. Oddly enough, as noted above, that was the entire reason I wanted to use watercolour- but it was also the reason I didn’t feel it would work out as I didn’t know if I could do it. My brain is a strange place. So strange.
The original line work for this piece was pretty much an outline which was also an interesting aspect in hindsight.

Given my inexperience with watercolour at the time I was relying on the ability to fully create depth, textures, markings, and many other things purely with watercolour as the line work wasn’t really adding any. I mean the concept made sense. It was a logical idea. But I was relying on my ability to do something I’d never done before with a desirable result the first time out.

But, I think, when all is said and done, that is what makes this such a great piece for me. I tried to do something new and unique and I wanted to achieve something which I did. So, even though it’s a bit older and a bit rough ’round the edges it’s a rare example of how my experimentation led to something amazing. Something which I’m proud of. It’s also odd that this, The Sacred Cow, and Wisdom (three pieces I am notably proud of) are all animal portraits.

Maybe that was a calling I missed in life? Or maybe I just needed something new and different and that wasn’t fantasy or what have you to really get to grips with the limits of my ability. Back then I was of the mindset that I didn’t have limits and I could do whatever I wanted. Maybe that was a good way to be?

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.