the emotion in this is absolutely beautiful! I wonder, is the dilemma the fact that he doesnt want to kill the baby pig? the hatchet lying there sorta makes me think so. Regardless i love that your art makes me think at all!
Really fantastic work man. I'm loving that little piglet up there! It took me a little while to see the pig butt, I think highlighting it further would draw too much attentin to it, but maybe consider making the floor and the butt more different in colour? My favourite bit is actually that knife block, the lighting just looks so perfect!
I love the pensiveness in his face, you can read the whole conflict of this worn man in his face. And as far as pig butts go, this is a remarkably rendered specimen, with lovely brush strokes. You are to be commended for the quality of said pig butt. XD
I didn't really have a story in mind, and no ideas at all when I started doodling. Abstract shapes turned into a wooden fence, and from there the idea come to have a character of some sort leaning against it. In some ways the character and scene are as much a surprise for me as for any viewer. It makes the process a bit more fun that way, being able to explore ideas as they come. Often if I a plan a drawing out too much, knowing the final destination, I'll get bored and abandon it.
So in the end I try to lay out a scene that could be interpreted in multiple ways. Perhaps the farmer could be a kindhearted peasant, or maybe a man with a disturbed mind. I couldn't say for certain.
Ohhhhhhh. So you create it as you go? That really must be amazingly fun. o.o So how do you get to that point where things just come together under your brush? Because I can't draw anything without having a good idea of what it is first; preferably sketching and liberating before I color. I've wanted to be able to build it as I work but I haven't hit that point yet...any tips?
So the dilemma is, in essence, the interpretation of the picture (I personally prefer the kind-hearted peasant theory. XD) Very fitting, I like it. XD
I am not a very organized person. I can't keep to a daily routine, I can't write with an outline, and I mix all the food on my plate together. Likewise in painting, the less structured method feels more natural. There's freedom to take the drawing in any direction on a whim. But it has it's weaknesses. It often requires a lot of extra time spent pushing a pulling elements to find anything at all, and even more to implement a strong design. That can turn into an endless struggle sometimes.
However, when it works it is fun. Usually it helps to start with a 'dirty canvas'. Have something like a coffee stain, or any abstract image on the canvas that you can paint into. It's much easier than starting with a blank clean canvas. Like sculpting clay, you need some material to work with. Craig Mullins demonstrates the process in this video: v.youku.com/v_show/id_XMzc3Mjc… You'll see, that even for a master, it is a slow push & pull process. (It does help to have some soundtracks playing. A requirement really.)
If you start with a line drawing, the difficult design problems are already solved. It can ultimately save a lot of trouble. But a tight drawing leaves little room for painting. (The lines become precious, and you don't want to cover them up.) Perhaps the best way of working is a mix of both methods; with a loosely stated drawing. A loose drawing is a great way to establish a solid foundation to build on. So, despite my habits, that would probably be the ideal way of working.
Ultimately it depends on what your goals are though. An emphasis on lines is great for gesture (like your leaping cat), while a more painterly approach is great for mood and atmosphere (my goal for this image).
I really appreciate your thoughtful comments and questions. I'm a quiet introvert by nature, but when it comes to this sort of thing, the craft, I could talk(or type) all day. Putting my jumble of unorganized thoughts into words is something I don't get to do often. I think reflecting on what I know, like teaching, it is a great way to learn.
Thanks for indulging me. Hopefully I don't appear too egotistical.
Indulging? Egotistical? *snort* My friend, I'm seriously absorbing it all like a sponge. Don't stop. XD
So there's no right or wrong method to use, it's just means to an end, the story you want to convey. Action and dynamics can be line-locked to make the movement flow, and the atmosphere of emotion and contemplative scenes would fit better with a more color/shape based image. The trick then, I suppose, is finding that balance between the two and make your style flow around them.
Thanks for taking the time to type out lengthy replies and show me your thought processes! I very rarely get to pick another painter's methods and techniques, so I've been absolutely loving what you've been telling me, I haven't posted much but I'm definitely learning from you as I play around with PS and actual paints. In other words, I'm an attentive listener, and I'm very grateful. Thanks! ^^