This stage is all Photoshop. I’d almost consider it cheating if it weren’t such a pain in the ass to pull off; if I weren’t going to paint over it; if I hadn’t done everything by hand under it; and if this weren’t an exercise using professional digital painting for illustration techniques. Here, one has…
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The much more clever way to do shading is to make a 3D model, and then move the light around to find the perfect angle. But doing it the clumsy, old fashioned way is good practice, and this piece is just about honing my skills. The shading made the bat lady more 3D, but it…
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Think I’m gonna’ go for blue skin with pink details, yellow-orange irises, and a dark red/purple ball of the eye. It’s a bit saturated right now, but after I add modeling, lighting, shading, and texture, it should be pretty cool. The gif animation has nothing to do with it. It’s just a snappy way of…
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After taking nearly two months off this piece in order to finally finish my SFAU series of 36 images, I finished the line drawing stage. I used my orignal, front on, concept sketch to create a 3D version. The hardest part was the weird, ornate nose. Very difficult to place it so it comes out…
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If you missed SFAU#35, see below: If you are new to this series all the images are based on recent photos of me after basically being fed through a neural network (which can change age, gender, etc.) — the popular app, FaceApp — then edited and painted using various programs. None of the people actually…
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If you are new to this series all the images are based on recent photos of me after basically being fed through a neural network (which can change age, gender, etc.) — the popular app FaceApp — then edited and painted using various programs. None of the people actually exist, and thus they are like…
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If you are new to this series all the images are based on recent photos of me after basically being fed through a neural network (which can change age, gender, etc.) — the popular app FaceApp — then edited and painted using various programs. None of the people actually exist, and thus they are like…
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SFAU #33 was based on #30, as you can see in this morph. I’m hoping sharing morph pairs helps people get into the series, though usually I’ll share them on IG rather than here. Just a little thing I can do to help people get into my work. That’s all. Unless you’re interested in some…
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If you are new to this series all the images are based on recent photos of me after basically being fed through a neural network (which can change age, gender, etc.) — the popular app FaceApp — then edited and painted using various programs. None of the people actually exist, and thus they are like…
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An examination of Michael Kerbow’s dinosaur paintings in his “Late Capitalism” series.
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If you are new to this series all the images are based on recent photos of me after basically being fed through a neural network (which can change age, gender, etc.) — the popular app Faceapp — then edited and painted using various programs. None of the people actually exist, and thus they are like…
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I’m not accepted as a blue-chip artist, and there’s every indication I never will be. ~ Robert Williams. The best thing about Robert Willams is his paintings, but he’s also a likable fellow if you aren’t predisposed to dislike his type as much as the blue-chip art world turns its nose up at his art.…
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An obscure artist was discovered, and quickly shelved. These days most people in the established art world see art through the lens of politics, social issues, obtuse philosophy, rarefied art theory, and radical ideology. It took outsider, underground types of artists, cartoonists, and collectors — the variety the contemporary art cognoscenti turn their noses up…
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I am the least constant, most confused person outside my safe rectangle of canvas. Safe because it is mine, my world, my rules, my flat Earth. ~ Steven Beercock. Seeing his work is like finding your uncle’s paintings in a shed; then noticing how weird they are and how eccentric he is; and then slowly…
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In my last post I shared a method for brainstorming ideas for creatures, and my theme was bat people. I’d made 9 thumbnail sketches, which you can see again below. I combined these to make 7 new variants, and then narrowed it down to the following four: I’d decided that the bat people I saw…
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I’m working on developing a bat-person for the next of my more illustrational images, like my Ant Man. Normally, at least up until recently, I’d only do one drawing, and just have at it until I was finished. There’d be tons of editing, tweaking it out, and learning from mistakes, trial and error. But I’d…
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Poor Mr. Bat. This was intended as a quick experiment in my ongoing exploration of digital impasto. To my knowledge I have the unique, and completely unrecognized distinction of being a pioneer in achieving digital impasto effects. I’ve used several different programs and combinations thereof to accomplish the results, and it’s usually not in a…
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Finally completed, and it was as much of a battle creating him as he looks like he’s a veteran of. I used lots of new techniques which I’ve learned from professional illustrators, and incorporated into my own arsenal of digital and painting techniques. This is as far as I could take the image with my…
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#21 – Dr. Cataract #21 is the twenty-fifth portrait in a series of 31 self-portraits as other versions of myself in different lives. This one took a sci-fi direction. The result is a unique, surrealist, sci-fi, mutrant man, perhaps a victim of his own medical or scientific experiments gone awry. I made this one shortly…
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More thoughts after days of ruminating on this topic, and various challenges to my arguments on my blog and elsewhere. Note that if you disagree with me, or have in the past, that’s perfectly fine. I’m more interested in understanding reality than I am in being right. If I were to suddenly switch my pro-free…
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What a difference rim lighting can make in a hyper-realist image. This is the first time I’ve really attempted this technique, and it took a lot of tinkering to get a result I was satisfied with. Rim lighting is a technique illustrators and other artists borrow from cinema. You have your main light source —…
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#22 – The End Came Swiftly A sci-fi digital impasto painting reinterpreting the end of The War of the Worlds, when the Martian ships fall because of exposure to the bacteria in the Earth’s atmosphere. The image falls between representation, traditional oil painting, and abstraction. The atmosphere, textures, composition, and feel are more important…
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In the continued creation of a hyper-realistic monster, I reached the stage where one overlays textures onto the body. For my fellow Photoshop nerds, you take a picture of a texture, put it on its own layer, lower the opacity to around 30%, and tweak out the exposure so the texture looks like it’s on…
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It’s over 10 days since my last update on this piece in progress, and it might not look like it’s that different, but I logged in over 20 hours of work on small changes. The deal is that I’m improving my skills at realism while executing this, so there are areas I keep working over…
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What is postmodernism, what are its shortcomings, and how has it negatively impacted the art world and contemporary culture? [repost with updates] Every student of art needs to grapple with Postmodernism at some point, either climb aboard, reject it, or integrate it. In order to come to terms with it, one needs to be able…
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Here he is again, and more rounded out. The initial line drawing (see below) has completely disappeared, and now all the shapes are defined via shading. I made his flesh more uniformly grey green, and I’m liking the deeper orange for the irises (the eyes are definitely not done). I’m NOT done with shading, highlights,…
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Some people make their digital paintings in very logical stages. That has tended to not be me, except on some occasion. I’m, or have been, much more the artist that just starts experimenting, sees what happens, and rides the wave in. But, uh, to get to some next level shit, sometimes an artist has to…
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Broad Outlines This is intended as a useful device for a very general categorization of visual-based art. The idea is to simplify something that is already hopelessly convoluted. There are inevitably grotesque omissions, outstanding hybrids, uncategorizable outliers, and genres I don’t address (such as folk art, outsider art, and comics…). But it’s worth thinking about…
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Art & Crit by Eric Wayne 
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