These last couple months were a blast creating concept art for the game maps and costumes for the pandas. Each asset I created was careful placed and color adjusted to fit the color scheme of the different worlds by the talented Hamzah Kasom. While he did that, the favorite panda costumes were cleaned up and added to existing animations within CocoStudio’s animation editor.
My goal on Wednesday was to cover the canvas, at least around the objects. I tried painting as accurately as possible with color and value. The paint medium I used was a mix of 1 part linseed oil, 3 parts Gamsol (odorless mineral spirit) and two drops of cobalt drier. The medium was applied to the canvas before painting to assist in it’s glide across the canvas, and it also allowed for a faster drying time. I focused on each element one at a time. Might not be the best practice but with three days to finish it, I can circle around the canvas touching things up. On Thursday, with the painting dry to the touch, I started again with the pumpkin. I was able to bring it closer to a finish with a lot more refined details. The afternoon was spent painting the shell. I liked the way it was going but was informed that the shadow on the pumpkin was not dark enough and needed more chroma. You can kind of see the area where I began repainting the shadow of the pumpkin. It’s a little darker and has more saturation of color.
Friday was spent fixing the shadow on the pumpkin with some alizarin crimson added to the orange mix I had. Then I did a mad push to finish the buoy before the class ended. It just needs a coat of retouch varnish to bring out the sunken colors. I’m really happy with the results and would take a class with Carlos again. He is a master of color.
This morning was spent mixing all the colors necessary for my painting. It took a couple of hours to mix the value ranges for each color I saw on the pumpkin, glass ball and sea shell. Once I had them all set, or most all of my colors mixed, I roughed in a quick poster study. My palette is loaded up with color. Hardly room to mix more. I should’ve brought in a cleaner board but this one would have to do. It was when I laid down my first dabs of paint that I saw my orange didn’t have enough chroma. I used cadmium orange and darkened it with burnt umber. I needed to create a new row of color with red added. A neat trick I learned was to isolate a spot on the still life and canvas by looking through a loosely closed fist. By leaving a small opening at the pinky, I isolate one spot to see the chroma without distortion from surrounding colors. This could be done with a dark paper with a hole punched in it, but I don’t carry one around with me.
Hopefully it will all get done in the next three days.
This week I have the pleasure of taking a five day still life painting workshop with Carlos Madrid which is a great treat. I was very excited to discover he was one of Juliette Aristides‘ instructors, which she was one of my instructors and a great influence on my approach towards fine art. One of the main things Carlos stresses is that “if the drawing is not right the painting will not be right”. Draftsmanship is very important when trying to create a successful painting. No matter how amazing the value or color is done when creating a still life, if the drawing does not look right, the painting will not look right. So day one was spent drawing my still life set up. It took three tries to get it “right”. Mainly because a still life should be life size. I did measuring techniques that brought accurate results but not to proper scale. On the third attempt I think I came pretty close to exact size
Strong emphasis will be placed on the Munsell Color System designed to simplify color organization for artists and print makers. I hope to learn more about this in the coming week. Here is the drawing done with charcoal and graphite, then covered with a fixative and a thin wash of gray with a value of about 6, out of 10.
Here are some of the art asset sheets that I’ve created for our most recent game Panda Pandamonium available for iOS devices and coming soon to Android.
This gallery contains 3 photos.
here are three paintings I played around with a couple weeks ago.
Here is a collection of animation I provided for the game Fetch for Big Fish. Character models for alligator, Bernard (old man) and coconut eating bird were created by me. I rigged the gator and bird.
music: The Time To Run by Dexter Britain
game is available here for iPad and will be coming out for iPhone shortly
Here is another exercise to help me become more acquainted with painting digitally. J.C. Leyendecker was one of the best painters to come out of the 20th century. He was a master artist that created hundreds of beautiful works in his career. Anyways, here is a copy from a section of one of his paintings.
I did the work in Photoshop working as if I were using the sight size method. It incorporated a lot of measuring and seeing. Then I created a palette to use avoiding just grabbing colors from the original. That doesn’t teach anything.
Here is the digital image I worked off of. It is a close up section of the painting below that someone had the privilege of seeing the original and photographed it.By getting into the details of this painting, I was able to see the mastery that went into the painting. Leyendecker wasted no stroke. Everything was so precisely put in place. Another fun exercise.