Oh no, there’s two of them! I’m almost ready to put them in color, which is the next stage. It’s going to be tricky. I don’t want to lose the intricacy and shading, especially when it goes into the digital impasto painting phase. What background? Who knows?
If you saw Monster Maiden #1, that one didn’t use any 3D software. After completing it I decided I wanted to throw one more technique into my arsenal before resuming the series. I wanted to have more 3D punch, which is very difficult to achieve by traditional means (see my Golgolon for attempting lighting and shading and modeling without recourse to 3D sculpting software).
I also thought designing monsters in 3D would give different results than drawing them, or collaging them, or combinations thereof. This turns out to be true. I’ve got to come up with at least a half dozen original monsters, so it’s good to have a range of techniques.
In the end I want to cover all the bases that I’m interested in within the series. I want color, composition, texture, subject matter, painterly details, imagination, significant content, and pumped up 3D perspective. Hopefully after this one they will come a bit faster.
Art & Crit by Eric Wayne 
I guess it’s possible to stage famous black and white photographs, only from different angles that imply there were hidden stories all along. I’ve been away from blogland a while – I actually went ‘Wow!’ when I saw this stuff. I remember your original painting. This is quite unsettling.
LikeLike
Yeah, I wondered what happened to you. You are on to something about using 3D models to rotate famous images. I’m actually planning to do something along those lines with my next piece, though I won’t be using a photo (it’ll be a surprise).
Is it unsettling? That’s good. That’s probably why so few people like it. Nowadays I think the more complex my art gets, the less people like it, and if nobody likes it, it’s probably a good sign.
Hopefully I can retain the impact the B&W version has as I take it into color.
LikeLiked by 1 person