Fantasy Art

Monday, September 25, 2017

Maux Faux 6

Sadly at this point in my process lots of life events broke in and this project was interrupted.  The boards were eventually put back in the woodshed where they got a little banged up over time and many other projects have come and gone in between this stage and now.
So I'm going to suspend the story of the 4 closet doors and share a handful of other projects that have happened in the meantime.
As I've mentioned, I'm doing 100 paintings in 12 months and that will hopefully include finishing every unfinished project in my shed of which there are quite a few.
So I'll be working on these again soon and I'll take lots of pictures and we'll get back to them in a while.
If you'd like to support the work I'm doing here please go to my patreon page and contribute a dollar.  It will make all the difference in the world.

Friday, September 22, 2017

Maux Faux 5

It’s the context of shape that tells the eye to interpret a thing as flesh, stone, glass or steel. Color has very little to do with it.  The color of his helmet may seem to make it look like steel, but the same colors on a coffee mug, would look ceramic, on a rhinoceros would look like skin, on the surface of a lake would look like water.  It's the shape of the thing, the intensity of the light and dark, the hard sharp edges and soft smooth curves, and the fact that it's on his head.  That's what tells you what it's made of, not the color.  So when you ask yourself "what color should this thing be?"   The answer is "just about any color so long as it otherwise looks convincing."

Thursday, September 21, 2017

Maux Faux 4

I used to have dreams all the time that there were doors in the walls of my house that I had never noticed before but once I found them they led to all kinds of wonderful or terrifying places. 
It’s a fairly common type of dream. Psychologically this is probably your mind telling you about some previously unexplored potential that you have, good or bad.  By discovering a new interest or hobby or friend you may be opening a new door inside yourself. Once the door is open who knows where it will lead or what you may be letting out? Will you go through the passage and never come back? Or will you seal the door shut once again and try to forget that it was ever there?

I hope that many secret doorways will reveal themselves to you as you go through your life.

Wednesday, September 20, 2017

Maux Faux 3

Using exactly the same Method as Last Time I paint in the books...

 ...and a little dragon...

...and another little dragon!

Tuesday, September 19, 2017

Maux Faux 2

This is nothing more than a transparent wash of dark on the shaded side and a wash of white on the lighted side. But because of the base texture you get the illusion of depth.  90% of the work was done with the random splattering of paint that we did in this post

 Same thing here.  Let the colors and textures of your base painting show through most of the work. People will be very impressed with the exquisite detail you put into these skulls when it's actually just a thin wash of paint.

Monday, September 18, 2017

Maux Faux

Did you think we were done?  Did you think there was no mo faux to go?  Oh no there's maux faux than you know.
Here's two more panels with a similar concept to the last one we did and a third one going a little bit of a different direction.  Again sketching with vine charcoal which is easily erased.

And again with the dark gray washes of paint and thin white washes on the highlights much of the painting is easily established in just a few minutes.
See This Post for more about this technique.

Wednesday, September 13, 2017

Paint along with Gilead Step 16

Ladies and Gentlemen, Boys and Girls, Goblins and Goblets...
That's it.
What'd ya think?

The Messenger
Acrylic on wood panel 12 inches by 7 feet by 2 inches. Sold.

Tuesday, September 12, 2017

Paint along with Gilead Step 15

The trick to painting white things is to make sure that almost none of it is white.  All the shaded areas should be a grayish blue...or is it a blueish gray?  The lighted areas are presumably lit by candlelight so they should be a pale yellowish gray.  Then you place some strategic spots of pure white to make the foremost objects pop forward
Here’s the difference between murals and other kinds of art. Most artists would paint a picture of an owl, hang it on the wall, people look across the room and say “Oh what a nice picture of an owl” and that’s the desired effect. 
A muralist wants people to look across the room and say “Holy crap there’s a freakin’ owl in here!” Even when you don’t actually fool people you still want to create the feeling of actually being transported to another place.   Like when you're in a restaurant with a beach scene on the wall, you know you’re still in Mesa Arizona, but it gives you a little sense of escape. So I’m hoping these paintings give people a little taste of that. Not just a picture of a thing, but an illusion of the thing actually being there in the room with them.

Monday, September 11, 2017

Paint along with Gilead Step 14

One of the touted advantages of acrylic paint is that if you make a mistake you can just cover it in white and repaint it. This is true if you are using an opaque method of painting, but we’re using a transparent method. So you want to stay very carefully within your drawing until you are close to the finish then you will switch to more opaque colors for the final touches.
I actually sketched this owl in considerably smaller than I thought he should be to allow myself room to paint him a little larger.  If I'd gotten him to large sure I could paint him out, but then all of the stone texture and everything is painted out as well and that would be hard to recreate at this stage.
The edges of the board are about 2 inches thick so I had to incorporate them into the design.

The dark night sky out the window was very easy to do glazing over the grimy blackish brown that was already there.

Friday, September 8, 2017

Paint along with Gilead Step 13

I’m going for the look of a bookshelf in Hogwarts or somewhere like that. Not a picture or an illustration of a bookshelf, but rather a mural, the illusion that there is actually a bookshelf over there on that wall.
This is part of an idea I had many years ago.
You see I used to do a lot of murals in people's home which always felt awkward both for me and the client.  Sometimes I'd be spending the entire day in some teenage girl's bedroom.  She wouldn't be there at the time of course, but after a while she or her parents would begin to feel uncomfortable having me there and start wanting to rush me along.  In short, I didn't like it much.  Public murals and restaurants were a much more relaxed work environment which might sound counter-intuitive.

So I came up with the concept of "Murals To Go".   Rather than work in people’s houses I could just create pieces that they could take and nail to wall themselves. I get to work at home and they don’t have to deal with a stranger in their house.
It's a great idea, it's brilliant!   ...I never did it, and more or less feel that the moment has passed.

This project we're doing here is sort of a compromise with that concept. 

Wednesday, September 6, 2017

Paint along with Gilead Step 12

Notice that the books look like books and the glassware looks like glass even though they were done with the same painting techniques the same paints, colors and brushes.  Sometimes people expect and even seem to hope for a special material or formula for painting certain things.  They want to buy metallic paints for all the metals and glass paint for all the glass and flesh-tone for all the skin.    Fortunately it doesn't work like that.  I say "fortunately" because you can use the paint you have to paint anything at all.  It's more about drawing things correctly so they look like the object depicted and then good use of light and dark.  Get those two things down and you could do this whole painting in purple and blue and it would still be convincing.

Metallics and all of that are gimmicks and gimmicks are extremely limited.  It's not that I never use them, some people say that my use of recycled material is a gimmick and that may be true, but I've accepted the limitations of what I'm doing.  The odd size means this will never work as a book cover.  Metallics and pearlescents and flourescents look amazing in person but they print as a flat color so if you're selling prints or to a publisher it won't work well.

Tuesday, September 5, 2017

Paint along with Gilead Step 11

 A thin glaze of dull color, usually house paint, on the basic shapes. Let the background texture show through.  If you have to, water it down or mix in some clear acrylic medium.

Opaque highlights with artist quality paints.  The fact that we've maintained transparency up to this point makes these elements pop out off the the surface like they were real three dimensional objects.  Your eyes are trained to look for contrasts, if a wall is covered in a unified color it will, of course appear flat.  But if it is covered in bright colors of equal intensity it will also look flat.  But if the surface has variations in dull colors and bright, rough textures and smooth, cool colors and warm, then you begin to create an illusion of depth.

If you're running through the jungle and everything around you is bright green then you can't tell what's a solid mass and what's an opening between the bushes.  If you are slow to process this visual information then you run into a tree and tigers eat you, and then the only people who leave offspring behind are the ones who can discern the slight variations in color which tell you where to run and what to go around.

Our purpose here is less dramatic but based upon the same critical instinct.

The difference you see here in the intensity of color is the difference between house paint or cheap craft paint and artist grade paints. The acrylic polymer that the pigment is floating in is probably the same in all three, but there’s a LOT more actual pigment in art paints. Plus the pigments are probably different material like red cadmium instead of iron oxide etc.

Monday, September 4, 2017

Paint along with Gilead Step 10

 Now for the lighted side of each object, those raised areas that catch the light.  Same idea as the shadow areas only with a warm off white. In this case white, yellow-ocher, and some of the shadow mixture.  Still keeping it a little transparent so that the stone texture shows through.   This is harder to do with white but you can mix a little clear acrylic medium in it to make it transparent without being too watery and runny.    This will be the final layer on parts of the painting but for most of it it's just a guide.  It's a big piece, if you get in close painting small details you could forget where the angle of your light was supposed to be so it's good to get all of that clearly established early on.
I’m assuming (as I habitually do when I’m making things up) a light source from the upper right.

The nude study on the wall has nothing to do with this project she was just there.

Friday, September 1, 2017

Paint along with Gilead Step 9

 Having established the drawing and wiped away all of the loose charcoal, start filling in shadow areas with a warm brown glaze. This is made from a mix of burnt umber and purple and a tiny bit of black thinned out with water and clear acrylic medium.  You want to retain transparency for most of this painting so that the stone texture shows through.
 This won’t be my darkest color, but it sets the whole painting down stone as it were.

I’m mostly darkening the under sides of things and recessed areas that would be deep in shadow.