Mural 2

I’ve been so busy commuting back and forth from Sayulita every day, I didn’t have time to post anything! I also managed to forget to take photos for a couple of the days… but that’s alright, I got a few in.

DSCF4001

 

Day one and two were just priming and touching up the wall, as well as getting a rough sketch laid out with chalk. I also did the blue/black and white of the sky, moon and stars. Once everything was ready to go I started laying in the base colors for the jelly fish and the turtles. I was picking out colors pretty randomly, to be honest. I had already chosen the paints I wanted to use, so I knew they would all work together for the most part, but I still had no real set plan for what went where.

DSCF4008

The next day I gave the turtles and jellies a black outline, filled in the orange and purple swirls on the turtle shells, and started on the jelly tentacles. When I stepped away from it at the end of the day, I realized just how empty my composition was. Keep in mind this is about 100x bigger then anything I’ve worked on before! I’m having to really force myself to use the entire space.

DSCF4002

So today I sketched/filled/outlined a few more turtles, plus some little baby ones. The jellies still need their tentacles, but after finishing up the little guy in the picture below, I realized that I was still going to do some background detailing. If I did the tentacles now it would just turn into endless retouching. So for now they’re floating mushrooms.

DSCF4003

I also knocked out the octopus today, too. He has an outline now but it’s not in the pic since I wanted to take one while I remembered to and before it got too dark.

DSCF4004

 

So it’s still pretty plain, but it’s getting there now. Tomorrow I’ll knock out the coral, seahorses and little fishes by the octopus, and maybe finish up the sky. There’s going to be a little bit of color around the big stars that are already on it, and then tons of tiny little plain white stars all around them.

My problem now is that I know I want to use dots as details (I’m addicted to dots!! example , example), but I need to find a quick and easy way of doing them on the wall, while keeping them fairly uniform. I’m thinking maybe a piece of cloth tied to the end of a paint brush might work nicely…?

Advertisements

So I added to that mural a bit…

Over the summer I was practicing on the wall next to my house. It was a LOT harder than I had anticipated. The wall sucked up the paint and was so uneven it was tough to cover (that, and it was SUPER hot out). What should have been a quick paint ended up taking me days! I had to change the design up a bit to work and it turned out like this

21

But I was never happy with it….. so I finally got fed up and added a little to spruce it up a bit lol

2012-07-19-23.38.32

Yah, that’s an octopus on her face. (the chicken approved.)

Inspirations… stagnation

These past few weeks have been all about the art going up around The Bay area for Festival Anonymous and I’ve been lucky enough to meet a few of the artists and watch them work. It’s been pretty inspiring! Tomorrow I’ll have a photo to post of a little tweaking I did on the mural I did this summer… lol… and I’m also starting a new digital painting project. I’ve been pretty comfortable with my technique lately and I can’t help but feel like it’s gotten a little too stagnant. So it’s time to change it up and try something totally new! For inspiration I’ve been browsing through art by Jason Chan and Charlie Bowater. Two totally amazing digital artists.

Festival Anonymous (let’s try this again…..)

Right, so I posted this already, but WordPress decided to back date it for whatever reason… so it didn’t show up anywhere it needed to. SO here I am posting it again. Sorry about that… I’ll have something new and interesting for tomorrow, promise!

—-

It seemed pretty fitting to post this after talking about how inspired I’ve been by the Huichol. Here’s the proof!

I posted this image and a brief explanation of the process once before when I was first starting up this blog, and while I talked about how I created the logo, I didn’t really explain what it was all about.

Festival Anonymous is all about bringing Urban Arts to the Banderas Bay area; Music, dance, murals, graffiti, all of it! There’s already an amazing line up of artists and musicians coming in to the area, either for weekend “pop up” events or the main event, the actual Festival, on January 26-27. Many of them are well known, world wide artists that I’m dying to actually meet and watch them as they work. It’s one thing to see an artist’s work, but Anonymous is all about bringing the process right to the audience!

Here are just a few of the artists that have been confirmed:

Sheryo

Sheryo

(Wall @ Wonderwalls Wollongong)

Saner

aryz_saner_mexico_streetartnews-4

(Collaboration with Aryz in Mexico City for All City Canvas)

Chisko

560646_10152205089460235_1145607017_n

Sergio Navajas

405435_10151071223752590_688901547_n

That’s only a few of the huge line up of artists involved, too. You see why I’m so excited about this? Well here’s the part were you come in.

This whole project is non-profit and it’s donations of talent, supplies, walls and $$ that are making it happen. Their Indiegogo campaign is in full gear and even if you can’t make it to the live events go spread the love! Like, share, write about it, talk about it, and donate! Donations come with swag (and good karma) if that helps =)

Support the Arts and support this project!

I didn’t even touch on the music and dance part of this event too… For more information on everything you should check out either their Facebook page, Festivalanonymous.com, or contact the organizers directly!

Platypus Painting

This is a painting that I actually did years ago. In fact, it was one of my very first paintings in acrylic! I had only really worked with watercolor before and I was having fun with the thickness of the paint. Plus I had just been talking to a friend of mine about how beautiful Australian Aboriginal art is, so I was pretty inspired. I started out with a very basic shape of a platypus and painted in some very simple shapes behind him. Then I just started to dot dot dot one at a time, little by little filling the spaces. I think it took me something like 30 hours to complete.

I love paintings that spill over the sides of the canvas. They look like they’re popping out of the frame and it makes them so much more dynamic than images that just stop at the edges. That and, while you can’t see it in the photos, the paint of the dots is actually so thick it pops right off the canvas and gives the whole thing texture.

I did a few more of these paintings after this one (an echidna, a wallaby, a kangaroo rat) but this first one is still my favorite from the series and inspired me to do a lot more work with dots, texture and pointalism.

Freelancing: Issue #8503

I really love to brag about my job. As far as desk jobs go, mine’s juuuuust about one of the coolest! I’m basically doing for money what I’d be doing if I had nothing better to do =)
But every job has it’s downsides, right? Freelancing is definitely a “Feast or Famine” type of gig. I always have either WAY too much to get done nownownow… or nuthin’. Zip. Zero. And then back to omgwaytoomuch aaaaaaaaah!… It’s fun though, and it’s all a matter of pacing myself I’ve found, and lots of planning ahead. I try to always have several projects of my own on the back burner; drawings, crafty stuff, new signs or product ideas, etc. That way when those slow times come around I don’t end up just sitting on my hands, I can grab one of those projects and run with it until I get more paid work.

On the flip side, the same goes for the paid work. I never seem to have just one commission at a time; it’s always 5-10 all of a sudden and I need to get ’em done quick! Unfortunately, especially for the work I do in illustration, a lot of the pacing depends on the customer. I often find myself waiting on payments (which I almost always take up front. More on that later…), commission details, references, contact information, yadayadayada. Sometimes I send previews of the work and end up waiting days to weeks, even months before I get a response! So I’ve found it’s really important to be able to switch between commissions and work easily, without getting too hung up on the one I’m working on. Multitasking! Very important.

That said, I do have a “queue”, a sort of commission line that people get on depending both on when they contact me about the commission and when they pay. While I give the current commissions at the top of the queue top priority, I also bounce around the queue line while waiting on any of the many things I talked about above, or sometimes when I hit an art block on a certain piece and need to take a short break to get my groove back.

As for what I said earlier about always taking payments upfront, I’ve been burned before, but more than that a lot of friends of mine in the same field have been burned before. It’s (really unfortunately) not too unusual for people to try to get art for “free” by ordering work, then either disappearing or simply ignoring any payment requests once the work is complete. Luckily this has never happened to me, but I have had clients that procrastinate and procrastinate and make one excuse after another about why they can’t pay yet “but next week for sure!”. Basically it just becomes very unpleasant for everyone involved as I then have to take on the role of Collector and they have to deal with getting hounded about debts. After doing this several times I decided that I had enough of a clean track record with commissions and clients that it wasn’t unreasonable to ask for all payments upfront. Now, I do understand that it’s not always easy to pay for expensive things like art all in one lump sum, so I do offer small payment options for the more expensive works. But again, in order to protect myself, the payment always has to be made in full before work is completed.

I know lots of artists that have very different policies on how they take and work through commissions, and how they accept payments, but this is the method that I’ve settled on for myself and it seems to be working out. In fact, if there are any artists/freelancers reading this, I’d love to hear your methods/thoughts on this process!

Festival Anonymous

It seemed pretty fitting to post this after talking about how inspired I’ve been by the Huichol. Here’s the proof!

I posted this image and a brief explanation of the process once before when I was first starting up this blog, and while I talked about how I created the logo, I didn’t really explain what it was all about.

Festival Anonymous is all about bringing Urban Arts to the Banderas Bay area; Music, dance, murals, graffiti, all of it! There’s already an amazing line up of artists and musicians coming in to the area, either for weekend “pop up” events or the main event, the actual Festival, on January 26-27. Many of them are well known, world wide artists that I’m dying to actually meet and watch them as they work. It’s one thing to see an artist’s work, but Anonymous is all about bringing the process right to the audience!

Here are just a few of the artists that have been confirmed:

Sheryo

Sheryo

(Wall @ Wonderwalls Wollongong)

Saner

aryz_saner_mexico_streetartnews-4

(Collaboration with Aryz in Mexico City for All City Canvas)

Chisko

560646_10152205089460235_1145607017_n

Sergio Navajas

405435_10151071223752590_688901547_n

That’s only a few of the huge line up of artists involved, too. You see why I’m so excited about this? Well here’s the part were you come in.

This whole project is non-profit and it’s donations of talent, supplies, walls and $$ that are making it happen. Their Indiegogo campaign is in full gear and even if you can’t make it to the live events go spread the love! Like, share, write about it, talk about it, and donate! Donations come with swag (and good karma) if that helps =)

Support the Arts and support this project!

I didn’t even touch on the music and dance part of this event too… For more information on everything you should check out either their Facebook page, Festivalanonymous.com, or contact the organizers directly!

Owl Necklace Collaboration

I was talking to one of my best friends several years ago, about doing a collaboration piece for an upcoming convention where we’d both be selling. She is an amazingly talented jeweler and textile artist and I had always wanted to find a way to combine our skills somehow. It was a little bit of a challenge considering how different our mediums are… but two pieces of pie and three pots of coffee later we had sketched up a very cool idea. My part was five small connecting watercolor paintings of an owl, which I then gave to my friend. She somehow (I have no idea how she does what she does!) turned them into a necklace using beautiful delicate woven silver with teeny tiny little red beads for accents, to match the accents in the painting.

The necklace sold right away, so it was definitely a success. Neither of us have been able to do any collaborations since, but I can’t wait for our next one =)

Inspiration: Aboriginal Australian Art

When I was little my family and I were lucky enough to live in Australia for a few years. Of course, like most kids, I didn’t really appreciate just how amazing it was to have been there. I didn’t realize until much later just how much of an impact that experience had on me and my influences, specifically Aboriginal art that is so hauntingly beautiful and expressive.

(I couldn’t find any credits or details about this one, only that it is painted on stone)

(again, couldn’t find any credits for this one, but it looks almost exactly like a small piece that I have hanging up)

I love pointillism, and styles that leave out important lines rather than rendering every detail. They let the audience actually participate in the art by allowing their minds to fill in the blanks and create the rest of the image. I think that’s why I love sketches so much since they’re so often just the idea of the image without being fully rendered.

The subject matter of Aboriginal art is also beautiful, often very abstract representations of mythology and the natural landscape of Australia.

(Ngapa Jukurrpa – Water Dreaming by Felicity Nampijinpa Robertson from www.aboriginalartonline.com)

(Yanjirlpirri Jukurrpa – Star Dreaming by Alma Nungarrayi Granites from www.aboriginalartonline.com)

(Artist Charlene Carrington from aboriginal-art-australia.com)

“I Like Turtles.”

I get most of my best ideas late (LATE) at night, usually as I’m drifting off to sleep and letting my mind wonder. Last year I had children’s books on the brain, and an idea popped into my head of the story of a sea turtle. It was one of those great moments where the whole thing appeared in my mind as a complete story, so I jumped out of bed, grabbed the nearest pen and paper and scribbled the whole thing down. For the next few weeks I was just a little obsessed with drawing/painting/creating turtles.

This was one of the paintings I did. It’s acrylic on canvas and the golds and silvers are metallic. I watered down the silver in the blue background so that from certain angles the swirls disappear and reappear again when you move around it.

I love paintings that really show the brush strokes and use globs of paint that reach right off the canvas. If you look at this one from the side you can see how much the paint stands up, especially the dots in the swirls and around the turtle. Okay… you can’t really see it in the photo, sorry =/

I did another much larger version in the same style, but never had time to finish it. The shape of the turtles is carved out of the paint, so it’s actually just light and shadows that create the shape rather than paint. I used two photos here so you can actually see the difference in the paint as it moves. The red of the shells has a metallic gold mixed into it, so as you move around it there is a lot of change in the colors!

To wrap up this post… well, I think this little boy says it best.