GRcade Illustrator Club

Fed up talking videogames? Why?
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The Watching Artist
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PostRe: GRcade Illustrator Club
by The Watching Artist » Sun Sep 08, 2019 4:04 pm

Gemini73 wrote:So as part of my "therapy" I've been drawing quite a lot. In fact I'm currently in the process of turning one half of my garage into an art studio

Keep going dude. :wub: Drawing has always had the power to quieten what I've been thinking about whilst also often letting me still turn it over in my head.

I miss having a dedicated space for art. Back to having to cram much of it into my bedroom.

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Gemini73
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PostRe: GRcade Illustrator Club
by Gemini73 » Sun Sep 08, 2019 4:13 pm

The Watching Artist wrote:
Gemini73 wrote:So as part of my "therapy" I've been drawing quite a lot. In fact I'm currently in the process of turning one half of my garage into an art studio

Keep going dude. :wub: Drawing has always had the power to quieten what I've been thinking about whilst also often letting me still turn it over in my head.

I miss having a dedicated space for art. Back to having to cram much of it into my bedroom.


It certainly helps in drowning out the "voices". :slol:

The garage was a gooseberry fool tip until I decided it needed clearing out. Turning one half into an art studio came into being halfway through clearing it out. The concrete floor isn't sealed, but a carpet cut off and a couple of rugs my mum was going to throw out has worked perfectly. It's quite cosy in there now. Still a few bits and bobs to do, but almost there. I can't wait to get started on some larger, full colour work in oils and acrylics.

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Pedz
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PostRe: GRcade Illustrator Club
by Pedz » Sun Sep 08, 2019 4:29 pm

Some amazing art in this thread. I have been looking at inkscape to try and do things in it. I can't actually draw for gooseberry fool, but the stuff from inkscape is OK for someone who can't draw and has never used. Maybe one day I'll git gud.

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Gemini73
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PostRe: GRcade Illustrator Club
by Gemini73 » Fri Sep 13, 2019 7:58 pm

I've now finished my art studio and have begun work on my new project where I'll be using a mix of acrylics and oils. I will admit I'm a tad nervous as I obviously want to get it right, but I look forward to showing you once it's complete. Might be a while though!

In the meantime here's a couple of sketches I did from previous years.

Joker - 2016
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Ragnor Lodbrok - 2018
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Gemini73
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PostRe: GRcade Illustrator Club
by Gemini73 » Sat Sep 14, 2019 9:14 am

The Watching Artist wrote:Image


Your pencil work is lovely. Any tips you could maybe share? :)

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The Watching Artist
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PostRe: GRcade Illustrator Club
by The Watching Artist » Sun Sep 15, 2019 12:55 pm

Gemini73 wrote:
The Watching Artist wrote:Image


Your pencil work is lovely. Any tips you could maybe share? :)

Wish I really knew them. :lol: Practice. Patience. Observation. Honestly as a kid I just took to it and kept going.

Weirdly just last night I was chatting to someone and they said I'd make a good teacher. :lol: I'd basically just give people pencils and tell them to go nuts. Only things I can really say are try different pencil grades. Work in layers to gently make some bits darker. But the biggest thing is to just keep going.
Gemini73 wrote:where I'll be using a mix of acrylics and oils.

You may know this but be really careful as these two don't mix- https://www.art-is-fun.com/using-oils-a ... e-painting

Oils ftw btw

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Gemini73
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PostRe: GRcade Illustrator Club
by Gemini73 » Sun Sep 15, 2019 1:02 pm

The Watching Artist wrote:
Gemini73 wrote:
The Watching Artist wrote:Image


Your pencil work is lovely. Any tips you could maybe share? :)

Wish I really knew them. :lol: Practice. Patience. Observation. Honestly as a kid I just took to it and kept going.

Weirdly just last night I was chatting to someone and they said I'd make a good teacher. :lol: I'd basically just give people pencils and tell them to go nuts. Only things I can really say are try different pencil grades. Work in layers to gently make some bits darker. But the biggest thing is to just keep going.
Gemini73 wrote:where I'll be using a mix of acrylics and oils.

You may know this but be really careful as these two don't mix- https://www.art-is-fun.com/using-oils-a ... e-painting

Oils ftw btw



Oh yeah I had no intention of combining them in a mix on the palette, (pretty obvious), just using them separately, with acrylics being mainly used for background work. That said thanks for the link as I didn't really consider how acrylics might react over oils. Cheers.

jawafour
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PostRe: GRcade Illustrator Club
by jawafour » Sun Sep 15, 2019 1:18 pm

I love pencils, chalk and ink but I've never gotten on with paint.

I say "love", but I haven't used them in many years. It's good to see you guys talking about art... it awakens the thread :-) .

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The Watching Artist
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PostRe: GRcade Illustrator Club
by The Watching Artist » Mon Sep 16, 2019 3:27 pm

To anyone in my general location (basically thats just Drumstick and his drunk Daddy) I've had a sketchbook selected for a show of nothing but sketchbooks. Mine is full of pen and ink drawings most of which are my Doctor Who ones. So it is probably one of the more boring ones but then these drawings don't usually get seen by anything other then my scanner.

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Gemini73
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PostRe: GRcade Illustrator Club
by Gemini73 » Sat Sep 21, 2019 10:32 am

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jawa4
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PostRe: GRcade Illustrator Club
by jawa4 » Sat Feb 15, 2020 3:11 pm

The Watching Artist wrote:...
Gemini73 wrote:...
Green Gecko wrote:...

Thought of you artistic guys....



Don't worry, Matt, I have opened and used all of the fridge magnets rather than keeping them sealed :lol: .

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Green Gecko
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PostRe: GRcade Illustrator Club
by Green Gecko » Sat Feb 15, 2020 5:14 pm

:lol: That's very similar to how I package a lot of my stuff as well.

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Dowbocop
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PostRe: GRcade Illustrator Club
by Dowbocop » Sun Feb 16, 2020 9:18 am

I had some Amazon vouchers and decided it might be nice to get a drawing tablet, so I picked up a Wacom. What software do people use? I got Corel Painter included with the tablet and I also tried GIMP, but I'm not sure I'm fully getting on with either. Seems I struggle to draw simple straight lines on a computer when it'd be no problem on paper.

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Suffocate Peon
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PostRe: GRcade Illustrator Club
by Suffocate Peon » Mon Jul 20, 2020 4:38 pm

Same old same old same old

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Suffocate Peon
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PostRe: GRcade Illustrator Club
by Suffocate Peon » Sat Jul 25, 2020 12:46 am

phaSe 3

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Green Gecko
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PostRe: GRcade Illustrator Club
by Green Gecko » Sat Jul 25, 2020 2:24 am

I continue to like how effectively your images break my monitor regardless of which one I'm on at that time in the past 10 years or so.

I'm quite pleased with this cyrillic tee commission I just finished, I tried not to think about it all too much because it was only £20 for someone I know. The images are taken from Russian newspapers and abstracted to strawberry float by various PS/AI functions.

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Image

Actually, I was quite possibly inspired a bit by Suffocate Peon :)

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Suffocate Peon
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PostRe: GRcade Illustrator Club
by Suffocate Peon » Sun Jul 26, 2020 12:30 am

Green Gecko wrote:I continue to like how effectively your images break my monitor regardless of which one I'm on at that time in the past 10 years or so.


That's gonna make me paranoid now. It's weird how people's eyes adjust, this is blurry and just by looking at it for hours then reverting to the other image i put up somehow now it appears overly scratchy and crisp. I want to do stuff that's alien and there's layers even if it's flat, so you can sink into it and see organisms mutating. Also you make me think of something animated, like Chris Cunnigham becoming obsessed with editing visuals to Aphex Twin's drill and bass hyper active music, or stuff like Gantz Graf. I like the idea of a static image where there's movement in it, your eyes vibrate because of the amount of movement that's layered in there. It's the same blocks over and over again and i spent ages thinking whether to accept that, Rothko essentially did the same thing for decades, and i used shapes and textures and can do more digitally. There's no pretense to think; right white page let's do something different. It's supposed to take the electronic music approach of creation, at least as i see it, not using loads of different hardware and software (i just use photoshop - colour balance, lasso, layers, copy and paste and that's it) but the endless manipulation of what you have based on stuff you've drawn that you can transform whilst retaining the fidelity. Just messing about with no intention, twisting and turning something to breaking point then trying to make it palatable. Maybe they're claustrophobic blocks where there's release inside them. A lot of electronic music affected me, Vose In, Rae, Cancel, The Waxen Pith, Pro Radii, My Half, so it made sense to reach for that. Rothko has the scale, the subtle changes, being enveloped, humans have a deep connection to colour as much as sound and he uses that. I people feel this constant pressure and accelerated chaos of modern life then there's something about the simplicity of a block of colour that breaks people and they just let it all go. But i've always worked small, if you enlarge these the detail changes. Like I saw Picasso's Guernica and wasn't impressed, it's so sketchy and unfinished, there's inspiration in the intent, how he's captured the horrors of war, but it's the inbetween bits where it's size doesn't make it more impressive to me. Rothko, Statue of David on the other hand, are transformed. You have to think i have to think; why do them? No one cares, they don't make me money, i have no desire for more, i don't listen to electronic music anymore, it was a few year period of excitement and that's fine, it doesn't act as inspiration anymore. I should have specified ages ago that drawing electronic music was the intention rather than reach a point where i don't want to even show them as they're judged a certain way, either as magic eye pictures, something spat out by a computer, using filters. They're collages really, rothko mixed with pollock. Do you know when you listen to electronic music and sometimes it feels like what you're hearing is alive, like it has a mind of its own, a living thing rather than something made by man. When it's percussive the sounds become like knives that kind of dance and it's so satisfying. Another thing is like Autechre, they construct their tracks so it's not this pop approach of sounds occurring without meaning, if there's a transition it will work and happen over minutes to a meticulous degree. They earn it, break it down, build it back up, they don't jump around. And sometimes that can be, like with their free jazz stuff now, a bit samey, they really prolong it. I do block pictures all at once, i don't bolt things together because it will never be seamless. I suppose you can blur but it's never like; okay this is all red lets create some electric blue ball in the corner, the changes come within. This makes me think of the first day at college in art class, the teacher assigned us a sketchbook and i filled about 5 pages. I think i wrote too much inbetween the drawings because she gave her impressions after everyone else, like i instantly came across hyper self analytical, saying one thing then contradicting it. Just draw the flowers and cloths. But asking why seems like a good thing to do rather than adopting art like a technician building up skills. I envy people who are always happy and satisfied but maybe life peaks when you listen to Atmosphere again and it's timeless and perfect, pure expression and that's enough. It's funny, keep this as a big paragraph block, or space it out. Keep it and it's stream of consciousness, space it out and it immediately becomes more considered and obviously readable. I'd like to sit opposite a professional and unload and for them to go; i have no strawberry floating idea what you are going on about, i have no frame of reference.

Whenever i do the black and white photos i save greyscale, tweak the darkness, upload, see that what i thought was black isn't quite black, tweak again, upload, see that what I thought was black isn't quite black, save as rgb, oh no too black. I assume other peoples monitors are brighter than mine so always have mine at 80% brightness. I used to use a matte monitor and maybe the gamma was all out but stuff looks different now to how i did it. I want to go back and re check, maybe i just saw things that weren't there, for the digital drawings I mean.

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Green Gecko
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PostRe: GRcade Illustrator Club
by Green Gecko » Mon Jul 27, 2020 2:01 pm

Suffocate Peon wrote:
Green Gecko wrote:I continue to like how effectively your images break my monitor regardless of which one I'm on at that time in the past 10 years or so.


That's gonna make me paranoid now. It's weird how people's eyes adjust, this is blurry and just by looking at it for hours then reverting to the other image i put up somehow now it appears overly scratchy and crisp. I want to do stuff that's alien and there's layers even if it's flat, so you can sink into it and see organisms mutating. Also you make me think of something animated, like Chris Cunnigham becoming obsessed with editing visuals to Aphex Twin's drill and bass hyper active music, or stuff like Gantz Graf. I like the idea of a static image where there's movement in it, your eyes vibrate because of the amount of movement that's layered in there. It's the same blocks over and over again and i spent ages thinking whether to accept that, Rothko essentially did the same thing for decades, and i used shapes and textures and can do more digitally. There's no pretense to think; right white page let's do something different. It's supposed to take the electronic music approach of creation, at least as i see it, not using loads of different hardware and software (i just use photoshop - colour balance, lasso, layers, copy and paste and that's it) but the endless manipulation of what you have based on stuff you've drawn that you can transform whilst retaining the fidelity. Just messing about with no intention, twisting and turning something to breaking point then trying to make it palatable. Maybe they're claustrophobic blocks where there's release inside them. A lot of electronic music affected me, Vose In, Rae, Cancel, The Waxen Pith, Pro Radii, My Half, so it made sense to reach for that. Rothko has the scale, the subtle changes, being enveloped, humans have a deep connection to colour as much as sound and he uses that. I people feel this constant pressure and accelerated chaos of modern life then there's something about the simplicity of a block of colour that breaks people and they just let it all go. But i've always worked small, if you enlarge these the detail changes. Like I saw Picasso's Guernica and wasn't impressed, it's so sketchy and unfinished, there's inspiration in the intent, how he's captured the horrors of war, but it's the inbetween bits where it's size doesn't make it more impressive to me. Rothko, Statue of David on the other hand, are transformed. You have to think i have to think; why do them? No one cares, they don't make me money, i have no desire for more, i don't listen to electronic music anymore, it was a few year period of excitement and that's fine, it doesn't act as inspiration anymore. I should have specified ages ago that drawing electronic music was the intention rather than reach a point where i don't want to even show them as they're judged a certain way, either as magic eye pictures, something spat out by a computer, using filters. They're collages really, rothko mixed with pollock. Do you know when you listen to electronic music and sometimes it feels like what you're hearing is alive, like it has a mind of its own, a living thing rather than something made by man. When it's percussive the sounds become like knives that kind of dance and it's so satisfying. Another thing is like Autechre, they construct their tracks so it's not this pop approach of sounds occurring without meaning, if there's a transition it will work and happen over minutes to a meticulous degree. They earn it, break it down, build it back up, they don't jump around. And sometimes that can be, like with their free jazz stuff now, a bit samey, they really prolong it. I do block pictures all at once, i don't bolt things together because it will never be seamless. I suppose you can blur but it's never like; okay this is all red lets create some electric blue ball in the corner, the changes come within. This makes me think of the first day at college in art class, the teacher assigned us a sketchbook and i filled about 5 pages. I think i wrote too much inbetween the drawings because she gave her impressions after everyone else, like i instantly came across hyper self analytical, saying one thing then contradicting it. Just draw the flowers and cloths. But asking why seems like a good thing to do rather than adopting art like a technician building up skills. I envy people who are always happy and satisfied but maybe life peaks when you listen to Atmosphere again and it's timeless and perfect, pure expression and that's enough. It's funny, keep this as a big paragraph block, or space it out. Keep it and it's stream of consciousness, space it out and it immediately becomes more considered and obviously readable. I'd like to sit opposite a professional and unload and for them to go; i have no strawberry floating idea what you are going on about, i have no frame of reference.

Whenever i do the black and white photos i save greyscale, tweak the darkness, upload, see that what i thought was black isn't quite black, tweak again, upload, see that what I thought was black isn't quite black, save as rgb, oh no too black. I assume other peoples monitors are brighter than mine so always have mine at 80% brightness. I used to use a matte monitor and maybe the gamma was all out but stuff looks different now to how i did it. I want to go back and re check, maybe i just saw things that weren't there, for the digital drawings I mean.

Just so you know I did read every word of this.

And to clarify I like the way our images jump about, it's mostly when you scroll, so that element of scrolling past the image in this medium means another dimension appears whether intentional or not, I'd say try to divorce the artwork and let it live as you observe seems to happen with some electronic music, which I recognise btw, you have spoken about it a few times before.

I often questioned "why" we were doing certain excercises in art classes, they were mostly pointless, usually I did what I was told but broke a few rules along the way and I still reference some of those broken rules in my practice. Actually one of those broken rules in my practice is tryin to care as a little as possible and think as little as possible, as a lot of the time they get in the way of making and reading artworks more than they help construct them, or it's about the same.

I'd say try not to be too "paranoid" about it, I had a guest art lecturer (I.e. A real artist not an academic I think it was Kieth Wilson) and divorcing the artwork meant a lot to me, let it live its life and try not to baby it too much. Sure you can and should listen to what people say and think but that doesn't mean it has to be important or incorporated, but it does reflect on the art and the art itself so that distance between the individual and the art is something I think matters as much as I have a conflicting relationship looking back and seeing personal portrayals in my work. I suppose ultimately culture is trying to reflect culture and we're just a synthesiser of that, art is always going to have people responding to it however they respond to it and that's just fine, actually that's great.

I would say that peice (phase 3) is blurry, but when it moves across the screen due to scrolling and the clock/refresh rates of the screen I happen to be viewing it with (in this case iPad 2 or LED backlit LCD, not HDPI/retina) the more scan line sort of elements flicker, that makes them appear momentary and flickering but more solid due to the attention brought to them, so they move out of the blurry image and become foreground, this way they are perceptually sharpened in the senses even if not literally sharp in appearance.

To avoid that you would need to print them, perhaps as acetate transparency or solvent print on clear light box transparency, so they are as emissive as you view them on your monitor at 80% brightness (measure this using a spectrometer and try to match it, or display them on traditionally static RGB display. Have you exhibited any of your work at a large scale perhaps by projection or getting hold of some old big CRTs if you want to keep them low relolution or LED panels?

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