A longer process doesn’t necessarily equate to a better one.
There are countless misconceptions and absurd generalisations that you’ll encounter as an artist. One of the most prevalent is that higher quality materials automatically result in a higher quality piece, which should be true if they’re used correctly, but knowing how to use those materials is important, as is knowing what to use them with. Experience is important. Practice is important. Knowing who you are and what you want to do is important. Some artists are better suited to traditional art, while others are better suited to digital art. There are very few absolutes when creating anything.
Every creative process is as unique as the person creating with it.
That’s why creativity can be so evocative. It doesn’t need to conform, it doesn’t need to appeal to everyone, and it doesn’t need to be aesthetically pleasing. It can be anything that you want it to be. However, having that much freedom is exhausting, as you rarely know how best to proceed.
Or if there even is a best way to proceed. As every artist strives to develop in their own way, but that isn’t easy when you’ve nothing to measure yourself against. Besides that which you’ve created before. But influences and inspirations change as you develop as an artist, and experience affords the confidence to attempt things that you wouldn’t have considered before. Community sites and social media can also skew your progression. Useful as they may be to share your work, user responses aren’t always indicative of how well your work is received. Not that external stimuli is exclusive to the internet. Every second of every day it exists, and being wholly immune to it is impossible. It has affected my progression and it will continue to do so.
External stimuli was partly responsible for the lack of creative content on Moggie’s Proclamations in recent months. As I didn’t feel like I was making much progress- if any- with new pieces. Not that completely abandoning every semblance of creativity has helped my progression in the slightest. But I wasn’t enjoying creating traditional pieces, while countless hours with digital pieces had begun to feel stale. Which may seem to contradict what I said in the previous post. But I still feel that extending the creation process for traditional pieces will help, so long as it is extended sensibly.
Not extending it to spend hours on pointless minutiae.
This particular work in progress is the Kulu-Ya-Ku featured in Monster Hunter: World. Originally intended to follow on from the terrifying fluffiness of the Paolumu as part of a series of paintings, which would’ve included other gargantuan creatures from the varied locales of the New World.
That’s still the intention should I ever return to this painting or to Monster Hunter: World. But I doubt that either is likely at this point. I’ve always been particularly fond (and proud) of the attention to detail in the flesh-y skin around the eye, and how the short beige hairs seamlessly grow outwards from their beak. The actual eye (and the tongue) could have been refined, though. They’re not as highly detailed as the rest. But this is a work in progress and it’s likely I was going to address those issues later, as I was in the process of detailing the ridiculous plumage protruding from their head at the time. Those wonderfully colourful feathers swaying in the wind. Ironically, this was one of the few paintings at the time to show actual progression.
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.
Monster Hunter: World, Astera, Kulu-Ya-Ku, Anjanath, and all associated trademarks and devices are owned by Capcom.