Posts from the ‘Studio’ Category
Hey guys. I hope you like one of my latest paintings called “The Black End”. I wanted to let you see a bit of how I work ,so I made a simple three step process picture for you. I believe it shows quite well how I work and more importantly how I use digital painting as a creative tool to find the optimal composition.
The Black End
Waiting for the End
How did I create my latest large painting?
First, I took a plein air study with appropriate color harmonies. At this stage I already had pretty clear idea of what I wanted.
Then I took advantage of my digital painting skills and made a new sketch in photoshop. I picked colors right from the plein air study and created this epic scene depictig last hours of mankind.
The photoshop sketch served well as a map for large studion painting, but I let the painting evolve a bit on it’s own.
If you are familiar with photoshop, don’t be afraid to use it for your advantage!
Oil on board, 50x70cm, October 2012
Oil on board, 50x70cm, October 2012
I used these two plein air sketches as references:
John Singer Sargent is one of the best examples of artist with clear ability to simplifi without loss of realism.
Bruce Mcavoy, in his brilliant article, describes Sargent’s unique focus: “…identifying by the accumulation of single brushstrokes the minimal arrangement of signs necessary to produce a completely convincing reality.”
And what is the best to way to obtain an ability of an artist you admire? To copy his works. Following image is not precise copy of Sargent’s painting: Golden sail. But rather an attempt to learn his brilliant technique.
This is a studio painting I did three weeks ago. I used a plein-air study as a starting point, but at some point, I took a new direction and let the painting evolve on it’s own. Do you like it?
Oil on board, around 50*60cm,
March 2012
Hey guys,
I’ve received few questions regarding the latest pack of pictures. “Where is the border between original and digital painting?” Was one of the frequent questions. And here is the image which explains it quite simply. On the left are original tempera paintings, on the right photoshop overpaints. Main purpose of this digital post-process was to emphasize important qualities of each image. You can clearly see that both aspects, traditional and digital, are equaly important.
People also ask why don’t I just paint them from start to finish. The answer is simple. It would never look like this if I just painted it. If I want to keep this specific visual, I have to do it this way.
Thank you guys for looking, I’m very greatful I can share my stuff with you.
As I promised in earlier post, here comes a second pack of new pictures from my factory.
The process of their creation was following: I painted a quick and energetic sketch with tempera. Then I scanned it. And in the end, I did some overpainting in photoshop.
See? It really is a symbiosis of old and new craft.
I’ve just finished first bunch of new artworks. This time, I seriously took tempera paintings and tweaked them in photoshop while trying to maintain original idea. But what now? Print them on canvas and do oil overpaint on same areas? Or leave them as they are?
More stuff of this kind is coming anyway guys. I will be hoping in your comments.
I get fascinated by night over and over. Sometimes, despite wind and cold, I go out, holding a sketchbook and doodling incredible shapes of shadows and glaring lights.
This work was done in the studio. But with help of many direct studies you might have seen in my older posts. It pretty much captures what I see when I look out of my window.
The painting of my grandfather was a christmas gift for my mum. Well, it’s far from perfect but the effort also counts, at least this time. 
Today, my beloved subject – marshes. I used black ink for underpainting and black and white tempera for actual marshes. I didn’t cover all canvas equaly so I was able to highlight what was important – the water, it’s shapes and reflections. Did I succeed?
This is what it might look like when I take a traditional painting and give it more detail with my tablet. What do you think? You might also be interested in the five-step process I included!
Like many others, I’ve always been treating egg tempera like something inferior, especially to oil – the technique of masters. But last week, I discovered how wrong I was. In right hands, it’s as powerfull as anything else.
Chek out for yourself what I created when I was mindlessly doodling. Mindless doodling is incredible by the way – you do the subjects you like in a way you like – no thinking, just spontaneous painting.
Dear fellows,
Today, I’d like to share with you several pastels I did about two weeks ago. I strive to capture atmosphere every time I create something and this time was no different. I painted only air (as I saw it) and light. No ground, no trees, no buildings – just pure atmosphere. I also get fascinated over and over by that glow around street lamps when there is a fog outside. I always feel like if there was something behind the fog and that something was far beyond understanding.
Pastel is a great technique for this kind of stuff btw. It allows me to create beautiful and very soft color transitions only with my palms.
Hello guys,
I want to share with you today few sketches I did during past week. As you might know, there is a wonderful view from my studio and I often benefit from it in many ways. One of the ways is that it keeps me inspired. When I feel out of energy, I look out the window and bang, I feel fresh again. And the other and most important way is that I can paint it!
Following sketches are directly inspired by that view of shining streets drowned in the sea of darkness.
