I’ve been practicing taking pose ref and building a fictional scene around it, and decided to focus in on people having quiet moments together; I’ve also been trying to use more soft gradients in watercolour, which is DEFINITELY one of the trickier parts of the medium, so it’s been a great challenge! It’s also taught me the value of good watercolour paper, but I suspect that’s a lesson I’ll keep re-learning. So far the Fluid 100 line, which is 100% cotton, has been holding up better than I expected for something so affordable! Not quite as cheap as the paul rubens 100% cotton paper, but available in much bigger sizes.
It’s maybe not evenly distributed yet throughout these drawings, but I am trying – for real, really really trying – to find a fun and charming and simple way to cartoon faces that feels repeatable for me.
What do you think?
This winter I was approached to work on a commission based on the heavy metal portraits I did as studies last year, which, friends, that’s the dream, hey? Do a personal project, hear from someone who connected with it so much they want a private commission that seamlessly extends that body of work? Incredible!
Lowell reached out with a request for a commission of the trans-feminist hardcore punk band G.L.O.S.S., and sent along a few reference photos and a link to this youtube video of a live set, which certainly set the stage for what an earnest, and intense, and also loud! band they were!
So, without further ado, here’s the final painting:
I don’t think this scan quite covers it though, because this piece is also luminescent, and iridescent, and also quite sparkly:
It’s also quite large – 12 x 16″, it’s gonna be a great statement piece and I wanted the colours to not worry about realism but to focus on pulling viewers in – while also being as queer as the core politics of this band.
Finally, here are close-ups on the faces, and some other favourite moments of mine:
Also, would you like to see a couple in-progress shots from the drawing table? I really treasure these little reminders of how my paintings came into being:
Drawn from memories of new growth in forests recovering from floods, making use of Windsor & Newton and Daniel Smith watercolours. Pigments used include green apatite genuine and fuchsite, adding a shimmer to the painting in person.
This grove was inspired by a trip through the Irish countryside in 2004, where I took approximately 700 film photographs of the wilderness, the architecture, the verdant forests and the magical quality of the light. Using mixed media, I wanted to add something a little more visibly magical to one of those memorable environments.
My comic for 1001 Knights, The Great Eeldragons of Penx.