Thursday 24 December 2015

It's Christmas Time.

It's Christmas time. Hooray. At this time of year it's customary to look back over and reflect on the previous year. And at Christmas I'm not one to mess about with customs. (One of our family's customs is to have ready salted crisps with our Christmas dinner. Covered in gravy. Gorgeous.)




This year has been a year of big changes for me, especially with taking up art full time. So how's that going? Very well, thanks for asking. I went through a period about a month and a half after I'd started where I felt the need to be around people at weekends and in the evenings due to being on my own all day. I've always thought of myself as not being the most social of people so this came as a surprise. I was sure that after this trial year I would have to get at least a part time job, just to have more contact with other people. But now that phase has passed and I'm back to being quite happy on my own. (Although I've found that my accent has started to get broader. How does that happen?)





I'm roughly keeping up with my schedule of finishing one painting every two months. I've nearly got the third in my Seven Gates done but I'm going to wait until I feel a bit fresher after Christmas to do the finishing touches and fog effects. A mistake with the fog could cost me some serious time so I want to go into it a bit less tired. Here's a sneak peak:



Because I'm living with that painting at the moment to make sure that I don't want to change anything, I've started planning the next two in the series. One required me to buy 500 plastic soldiers and the other has changed radically from my first idea due to it looking too normal. Can't be having that. 




All that remains to be said is have a lovely Christmas (maybe with some crisps on your Christmas dinner?). 

To return to my website, click here.

Saturday 19 December 2015

The Process Behind 'Welcome' #3

After the planning stage I started on the painting in a conventional manner with the sky then the background. I repainted the sky a couple of times to get a look that I was happy with, using some very careful blending. The background was much easier. I used a similar technique to painting water, always working horizontally across the image, but swapping the colours to create a foreboding unsettling landscape.


The translucent cape was the hardest part of this painting. After finding many images of translucent floaty material, I drew one particularly appropriate piece to get a feel for the fabric.


After that, again working in pencil, I worked out what I wanted the cape to look like, mainly sinuous, sinister and floaty. I drew it in four separate pieces to be overlaid when it came to the painting stage.


Tracing these drawings was the next stage to add them to the painting. (I'm not adverse to tracing when I've actually drawn the original.) I only transferred the outline on to the painting, as I kept the drawing as a reference for the shading later.

Rather than blather on about how I painted them in writing, I'll blather on about them in video form:

As I was painting the material I would go back and forwards between the painting and a Photoshop version where I could try out placements for new pieces of fabric. This was particularly of use when it came to the pieces snaking around her arms which were not in my original plan.


The rest of the painting was fairly straightforward. Easily the most fun part was the hair. Starting with a dark basecoat I applied fine hair detail in white.


It was then just a matter of using thin washes to develop the colours and tones to exactly where I wanted them. (The 'just' part of that last sentence was a full day of 'just'.) It was a really satisfying process and one that I have used significantly on my next painting. But not for hair. (See below for a sneak preview.)


See you next time.

To return to my website, click here.

The Process Behind 'Welcome' #2


After the whole free association business that I rambled on about last time, I actually start to put pencil to paper and start sketching some initial ideas. This could be in the form of thumbnail sketches to help me get a feel for the composition or sketches of important components.

In the case of 'Welcome', I used both techniques to arrive at the idea for the mask. I spent a lot of time looking at and researching Venetian masks and the meanings behind the different types of masks. The type I chose was a Volto mask. Vivo Masks states that historically these masks "guaranteed complete and utter anonymity as no part of the face shows". This was perfect for what I wanted. I tried out some small sketches to get a feel for the general look of the mask and when I was happy I had a go at a larger sketch. I settled on a final design relatively quickly, although changes were made in the finished painting.


I used Photoshop extensively in the planning stage of this painting. I had taken some photos of the bleak landsape I required at Hatfield Moors, near Doncaster. Interestingly the place that I chose is the site where a plane crashed in World War II. It was on its way back to Finningley. One person survived the crash only to die on the moor not far from the plane. There are still some small fragments of the plane there now on the small hill shown in the painting (although the actual hill isn't rocky in the slightest). I tweaked the landscape to make it darker and added a new broodier sky. Then it became a collage job to put together the character from a variety of sources.


In the planning stages, I love the flexibility that Photoshop gives me. I can try out ideas quickly and I can always go back to previous versions if I'm not happy. One problem that I noticed though was that I spent a little too long (read that as far too long) fiddling about and making a half decent job of the final image on screen that I would then use as my reference for painting from. On the painting that I'm busy with at the moment, I rectified this and only developed a very rough version that was enough to solidify the composition.

The reasons why I don't use Photoshop for my finished paintings are that due to the personal nature of my paintings I wanted to work in a more personal media, one where my hand mixes the paint and applies it to the board, and I also feel that paintings created in Photoshop have a similar feel to them. Don't get me wrong, I like that feel for certain subject matter, I just didn't feel that it was right for this series of paintings. Maybe I'll work solely in Photoshop at some point. We'll see...

For Part 3, click here.

Or to return to my website, click here.

The Process Behind 'Welcome' #1

After releasing my latest painting into the wild I thought it was probably best to tell you a little bit about the process I go through in creating my images. I start with an idea; it could be a feeling, a problem, a desire, anything really that lurks around in the dark secluded areas of my mind. At this stage I already have an idea about how I’m going to represent it visually but I’m very open to change.


I write down the central idea at the top of a piece of paper and then use free association (the mental process by which one word or image may spontaneously suggest another without any necessary logical connection) to derive a list of words. I try not to think about why I’ve chosen these words, I put them down and consider the implications later.

Then I look at this first list and see which word(s) jump out at me. Again, I don’t think why, I just go with it. I choose one of these words, start a new list and then repeat the free association. Making lists for each of the words that jumped out is time consuming but it generates a lot of ideas.

Finally I repeat this whole process a third time, seeing which words jump out and making new lists. I do it three times because I think that this stops me from skittering about on the surface and forces me to delve deeper. Many times I will reach one of the third level lists, a word will spring from my mind and I’ll think ah, that’s what this is all about.



Using all of the lists, I look for suitable words to mould the direction of the painting. This can sometimes cause radical changes. On my painting ‘Welcome’ the background stayed fairly similar to my original idea but the character changed dramatically. My initial plan was to make her a wizened old witch with leathery skin and deranged eyes. I don’t know which would have been more fun painting, but finding reference material for the current version was certainly interesting.


I got the idea for using free association from the screenwriting book ‘Story’ by Robert McKee. It advises looking at your script, seeing which words jump out at you, and then free associating. Doing this process with a script was a revelation that certainly delved deeper into the characters' motivations and personalities. So I pinched the idea for my painting.


There I was, feeling a tiny bit smug, thinking that I’d found a new method of creating images, and oh... it turns out the surrealists got there quite a few years before me. Ah well, here’s hoping that the process will deliver some original images instead.

For Part 2 click here.

Or to return to my website, click here.


Review - Eldritch Horror

As a minor random departure from my usual arty goods, I've decided to post a review of a board game that I'm playing at the minute, a board game that has me completely addicted: Eldritch Horror which is based on the stories of H. P. Lovecraft (featured in my post last week). 


Eldritch Horror is a streamlined version of an older game, Arkham Horror but is sufficiently different to make owning both desirable. Both games are about a group of investigators who come together to defeat one of Lovecraft's Ancient Ones. Along the way they have to find clues, solve mysteries, shut gates to other worlds and kill nasty monstery type things. The main difference between the two games is that Arkham Horror is set in Arkham, (obviously) whereas the events in Eldritch Horror span the entire world.


The main game mechanic in Eldritch Horror is simple to pick up: work out how many dice you need to throw, depending on what you're trying to do, throw the dice and then count the number of successes rolled. For the most part, rolling a 5 or a 6 counts as a success. Cards that can be gained by the investigators give them weapons or spells, along with other items. Many allow the player to roll more dice or re-roll dice where necessary. Conditions can also be given to investigators such as leg injuries or hallucinations that are generally bad. In fact the only good condition is being blessed which means that rolling a 4, 5 or 6 is a success. On the flip side being cursed reduces the successes to 6s only.


There are three phases to the game: Action, Encounter and Mythos. The Action phase allows the investigators to move, rest, trade and perform other actions (hence the name). In the Encounters phase the investigators encounter something on their space, which could be fighting a monster, closing a gate, getting a clue or even one based on the specific location. Finally the Mythos phase is where the game really fights back against the players. New gates are spawned along with the obligatory monsters and for the most part, bad things happen. 


As you may have picked up from the last paragraph, this is a cooperative game. The players all work together to beat the game. It is suitable for 2 to 8 players, but 4 players seems to work really well. (There are also supplementary rules for solo play.) There are eight investigators to choose from and each has their own strengths and weaknesses. You can generally look at their stats and decide what they will be good at whether that is gaining clues, fighting or casting spells. I know some people play this by picking an ideal team using the available investigators but I prefer to randomly select them. It seems to throw up some interesting combinations of characters that initially seem to be destined for failure but miraculously work well together. The game allows opportunities to fine tune characters by building their stats, to make them even better at their job.



Eldritch Horror is a finely balanced game. It would be dull if the investigators won every single time. This doesn't happen. A game can be played for three hours. And then you lose. (In Arkham Horror games can easily stretch to five hours which makes the losses even harder to bear.) But when I lose, I set up another game straight away. Most of the games seem to be extremely tight which can make for some quality tension. 


Great games should teach us something about life and the main thing Eldritch Horror rams home constantly is perseverance. The game regularly batters you into thinking that there is no way of winning, everything goes against you and all seems lost. Yet if you keep going to the bitter end it's amazing how many times you win or come really close. There are other life lessons to be learnt such as co-operation, prioritising and how to slaughter a Star Spawn using a shotgun.


Eldritch Horror is a pleasure to play. The artwork in the game is gorgeous, especially on the locations and all of the components are well made. It feels like it has been play tested to death. My one concern is that it sometimes feels too harsh, initially the restrictions on movement make winning appear impossible and there is one card that can make a player lose six health, which is more than most characters have. But overall the game appears to be fair. Luck is obviously involved but it is definitely possible to improve your chances of success through shrewd choices. Strategies can be employed, especially the ways that investigators can work together, to make winning more achievable. As the players' skills and knowledge improve the rule book has suggestions to make the game even harder which adds to its longevity.


If you're completely new to board games of this ilk that have a little more depth than Guess Who, then this may not be the best place to start. Give 'Forbidden Island', 'Forbidden Desert' or 'Pandemic' a try first. They are co-operative games that introduce you very nicely to this style of game. Not that they're easy to beat though. After that you could progress to Eldritch Horror which is a great game that has already given me many hours of pleasure. Right, I'm going to leg it now to see if I can batter Azathoth into submission with a politician, a psychic, an astronomer and an actress.


NB I have previously posted this review on my other blog. But, let's just say, not a lot of people read it. So I thought I better try to share the love again. 

To return to my website, click here.

Influence #2: H. P. Lovecraft


My first introduction to the stories of H.P. Lovecraft (1890 - 1937) was not actually through a book solely written by him. My dad had somehow acquired a book called ‘The Lurker at the Threshold’ by August Derleth. (He often came upon fantastic books purely by mistake. For example, he bought ‘The Keep’ by F. Paul Wilson through one of his book clubs. Lucky for me he did, because this is one of my favourite books.) ‘The Lurker at the Threshold’ was written by August Derleth but the ideas had come from notes written by Lovercraft. At the time I thought it was a strange work of horror because it wasn’t chock full of the beheadings and eviscerations that I was used to. This was slow burning psychological horror and, as with most things, it was the atmosphere that gripped me.


I embarked on a quest to read proper Lovecraft books and the highlight for me was ‘At the Mountains of Madness’. The isolated Antarctic setting grabbed me from the off but again it was the creeping feeling of dread that kept me reading. The book is a gradual descent into madness. The idea that however bad things are, they can always get worse is something that draws me into any book or film. (This may explain my liking for ‘American Psycho’ by Bret Easton Ellis.)


I love the premise of his books that there are ancient creatures, worshipped by certain human cults, that remain generally remain hidden but can occasionally be seen under the right circumstances. Plus they usually bring on severe bouts of madness. Or maybe the people who see them are already mad? The sheer scale of this hidden world fascinates and terrifies me.



Something that always makes me chuckles in his stories is his use of a gibbous moon. It's such a great word. Before reading Lovecraft I didn't have a clue what gibbous meant. Everyone knows what a crescent moon is, but "gibbous"? Now I'm forever commenting on how gibbous the moon is (ranging from slightly to very). In films and art work the gibbous moon doesn't work. It's not visually pleasant. There is something disconcerting about a very gibbous moon. It feels wrong. And maybe that's why Lovecraft used it so often. I think I may have to include a gibbous moon in one of my paintings just to feed my obsession.


It’s a shame that he was never recognised in his lifetime and died a poor man. His influence on the horror genre had been massive: The Thing, The Mist, In the Mouth of Madness all owe a great deal to Lovecraft, as do the books ‘Nightworld’ by F. Paul Wilson, ‘Darkness on the Edge of Town’ by Brian Keene and the stunningly great series ‘Locke and Key’ by Joe Hill.


Add to this the various adaptations of his work - some looser than others - and his importance is felt even more strongly. I won’t list them all, just some of my favourites. Dagon has to be my top full length film but the screen version that best captures his work for me is the first part of the Necronomicon anthology, The Drowned by the excellent Christophe Gans. Yet it’s board games that have the strongest Lovecraftian flavour: ‘Arkham Horror’ and it’s update ‘Eldritch Horror’ are both incredibly involving cooperative games and if dice is more your thing then ‘Elder Sign’ should be your next port of call. (Just to mix things up a bit, I’ll post a review of one of these next week as a treat.)

 Dagon
 The Drowned

So what effect has he had on me? Well he’s led me down the route of psychological horror in my paintings. On first viewing they may seem fairly innocuous but hopefully there is something deeply unsettling about them. This effect should be multiplied when I’ve finished the whole of ‘The Seven Gates’ series. I know that I could paint all of the usual horror trappings like skulls, blood and gore but I want to challenge myself to find something even more horrific. (My favourite film of all time is The Wicker Man after all.) Despite all these lofty ambitions I couldn’t resist having tentacles in my next painting. It’s something I just have to get out of my system. Blame Lovecraft.

To return to my website, click here.