This is my “blog” of sorts, when I create a work that I want to post and I think you might like, I’ll try to give you a little write up on it to get you a little closer to my work, what I'm doing and why. If you open up any of the pages there is a Disqus forum where you can leave your comments, all relevant comments/critiques are welcome.
I’m still in the process of loosening up my work. I hope to one day achieve the desired expression with minimal strokes and indications of shading and color. I’m finding it difficult not to work back into something to try to give it more of what the reference seems to dictate. So what I’ve been trying to do is find the gesture and work from there.
Figure with fabric is a study in digital charcoal, again using Procreate. This is from a photo reference found on NMA. My original intention was to draw this and future work with more of a gesture feel, very loose and pushing my hint of color a little further. What I ended up with was this and I know why.
Self-portrait originally done on an older iPad 3 with a Wacom stylus. I revisited this work on my iPad Pro with Apple Pencil using an assortment of 3rd party Charcoal brushes. I particularly like the "paper" textures that came with it.
Digital illustration scifi using Procreate
Blue Girl done in Adobe Fresco
This work was done with a friend in mind who wanted me to draw her. At the time I was creating more surrealistic figurative and faces based on no one in particular and I stressed to her that I wasn’t really taking commissions because my head wasn’t into portraits. Still isn’t really, but I am using more photo references when doing studies. I set out to make this work representational, but with a Modigliani type feel to it, and with her in mind, but I didn’t think she’d appreciate it, and I was right. She didn’t. But I think it captures her general impression when you get away from that -there is a camera pointing at me so I’m going to smile- look she has in every photo I saw when looking for a reference. I’m trying to think back in history when any painting was approached with that “smile for the camera” type look we see in candids and portraiture today, usually if a smile was included it was to express a reflex emotion like laughter. Having to sit for such a long time I’d imagine lended itself to a more natural expression. I would approach my photography the same way when I was shooting models. I’d never go for that “look right here and smile” or “pageant” type shot. They look so unnatural and devoid of mood to me.