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7.12.09
"They watched the skies for a sign.
Kahliam knew it was close just by the stillness. Except for the ringing of the bell, the air was noiseless. Nature held its breath leaving a vacuum of perfect silence. It was the kind of moment Kahliam would've relished had the creature not been out there, hiding among the clouds, waiting."

6.12.09

"They watched a figure move through the forest. It walked smoothly between the trees, barely making a noise. It was difficult to make out its features. It walked upright on two legs, but hunched over. As the two boys shuffled into the crevice under the vegetation, the figure stopped. It propped its head up, listening to the painful silence of the still woods. It took two steps in the direction of the boys.
They could see the figure was in the shape of a large man. But his features were barely human. His skin was pale and greenish in tone with dark veins spun across its body. It was taller than any man they had ever seen. It was almost naked, wearing only crudely fastened skins and sharp bones around its body. Its hair was a gnarled mop of thick twisted vines caked in mud. Thin metal rods, hooks, and studs pierced its skin forming random patterns. Its contorted face was riddled with scars and tattoos. More creature than man."

"The bark ripped away from the boys and the brush thrashed all around them. The forest exploded with a wicked roar and the branches and debris flung through the air from the whipping reach of the creature's long arms. A wind tore through the woods and stripped the boys of their cover. The creature towered over them poised with mouth agape.
Siduri looked at its black eyes. He never blinked again."
1.12.09
"The great walls towered above Angutara and wrapped around it like a phalanx of giant, sculpted sentinels. The city rose from the crowns of broad sweeping hills that overlooked a lush valley. Buildings covered the land, crowding every spare plot in a near-random jumble of architecture. The shores of the wilderness up-surged in a high tide of forestation to the walls. It was alone in the world, far removed from any other country, a full moon in an empty sky."
This is a piece of concept art for a city I've been working on. I've been experimenting with mixing photo collage and some of my painting techniques. Haven't decided if I like it yet.
29.11.09
"You failed!" yelled a man dressed in the rags. "You failed. The village is destroyed and everyone is dead!"
"I didn't come to save your village," said Kahliam, "I came to kill a dragon."
25.11.09

Had a few days to work on a piece I've been wanting to do.
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29.6.09

14.6.09
Pulled an all nighter to wrap up my new book "Bento Box"! It is off to the printer. Above is the final cover. After several fully rendered versions and a lot of wrong directions I finally found a piece that worked for me. For those of you that liked the sci fi girl, she's inside. For those of you that didn't (AJ and Ron) you can glue that page closed. The project had to be scaled down a bit from it's original inception. But I'm still pretty happy with it. It's kind of a tasty sampling of my work (professional and personal) from the last year. Okay there's some old stuff in there too. It is a forty-page, bite size meal that will leave you asking for dessert. (I mean because it tastes so good, that you can't get enough, not because it left you unsatisfied. Maybe I should come up with a better metaphor.) I'll be selling it at Comicon in the 8fish booth E5. So be sure to stop by and visit, Me along with Ian Johnston, AJ Bell, Ernie Harker and, of course, my booth babe, Jess. By the way we're going to be drawing caricatures at the con as well. That'll be fun to do some live drawing again. Can't wait to see you there. Meanwhile practice saying: 私はbento箱を有してもいいか。7.6.09
I start off with a few sketches until I get an approximate feeling for the character. The way I work I don't like to tie the drawing down too much. For me at least, most of the pleasure of the painting comes from the discoveries along the way. I guess I like to have a general direction without a restrictive plan. Otherwise it's just math. Once you get the basic equations down you don't have to do the long division. That's when it gets interesting. Anyway, I start with a sketch.
Then I go from the general middle tone to a slightly darker tone, without going full contrast. That way I control the tonal relationships with out getting too dramatic. Ya know the old saying "Subtlety in tone creates the illusion of depth, while high contrast flattens."
I go back and lay in a lighter tone than the general middle
From there I go back and forth progressing toward the to extremes of the tonal range
Cycle back and forth until the localized tones relate to the overall and.... viola. Ya know. Of coarse along the way I'm constantly adjusting the drawing with the rendering
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