The blog of David Michael Wright - Freelance Illustrator

Hello, and welcome to my humble blog!

If you too like the drag of Graphite on Paper, can appreciate the flick of a well executed Brushstroke, and like I favour subjects of the Dark and the Monstrous, the Weird and the Wonderful, the Abominable, Diabolical, Fantastic, Dramatic, Adventurous, Ghastly, Nightmarish and Phantasmagorical!

…Or like myself, seek to devour all sources of the Technical, Practical, Methodical and Inspirational!

Then perhaps this blog is for you.

It is (I hope) to become a progressive ongoing account of my endeavours as a Freelance Illustrator specialising in mainly the Fantasy, Sci-Fi, and Horror art genres. As is always the case (except perhaps on Sundays) I will do my very best and veritably strain heart and nerve and sinew to write a faithful accounting of all my latest Discoveries, Resources, Technical Explorations and Inspirations, in addition of course to featuring regular posts of my current Creative Exploits and Works in Progress.


Sunday, 5 June 2011

New Paintin' - The Snake Queen of Sithus-Taih!

Title - The Snake Queen of Sithus-Taih
Client - Portfolio Work
Media - Acrylic Ink on Hot Press Paper
Original Artwork for Sale - Currently Unavailable

Following on from the previous post (Pandora's Box) I thought it would be great to experiment 'around' the core technique I employed on that piece, as I was quite pleased with the outcome, and so try and push things a little further. I thought a change of surface would be interesting and decided to see how this technical approach would transfer to a hot-pressed paper surface which is very smooth and much less obsorbant to that of bristol board. I also limited myself to only using my FW acrylic inks this time, I usually use these in combination with liquitex or Windsor & Newton (thicker) acrylics. My reason for this 'test' was that I recently read that the FW's were designed to pick up better for print, and wondered if they would scan any better when used alone.

I found the colour worked really well on the smooth surface but the gradiating/blending of the colour was more of a challenge and it took a lot longer to achieve with subtlety than with the slightly textured and more absorbant bristol board. Also the detail always really 'grabs' on a shiny smooth surface, which is good, but getting any kind of edge softness is much more difficult and requires constant deliberate softening throughout.
Overall I found this method/combination worked well but took longer to acheive than my previous painting. The image did scan much better for the most part (probably due to inks being made with predominantly transparent pigments, in combination with the more reflective painting surface). So I would say the overall result was 'swings and roundabouts' really, It has its benefits and disadvantages too. I think for my next piece I'll return to the bristol board surface, and try using a purely transparent ink build up of base colour and then and only then allow myself to use my heavyer acrylics for detailing over and see how that combination works out. Hopefully I should get all the scanning benefits, the blending benefits, and the versatility of using heavy to thin paint too (well thats the theory anyhow :).

More soon...

"When one has finished building one's house, one suddenly realizes that in the process one has learned something that one really needed to know in the worst way - before one began."

Friedrich Nietzsche - German Philosopher (1844 - 1900)