Nightserpent.com blog- Fantasy art of Paul Carrick
We all scream for Casein!
Greetings!
Some may recall my occasional grumblings about not getting my art to reproduce well, granted no reproduction ever meets to the in-person experience but as artists we can hope to come close. There are many factors which are simply out of my hands (the viewer or publisher's computer, OS, browser, monitor, printer, etc- simply too many steps and variables), but then some things can be controlled. Since about '92 I have been using acrylic almost exclusively, I am more familiar with it than any other paint but it has always been a challenge when it comes to scanning, photography and reproduction. In part this is because the values in my art (shades from light to dark) are mostly stacked in the darker end, and my paint tends to be quite shiny. Have you noticed that bodybuilders often tan and oil themselves to accentuate as much of their surface as possible? Well, when you have a dark shiny painting you're effectively doing the same thing in the scanner or camera's eye. I've hired professional photographers and scanning services, and they were a bust as well. Every bit of paint texture is highlighted with stark glare and the 'valleys' of the paint texture fall into shadow- things like the color and value get completely upstaged by the texture of the painting (which is not the focus of my work). So, what does one do, change their chosen style in order to be received more clearly? For me that was a daunting idea, and perhaps a bit disheartening to feel like I might have to start over and reinvent my painting style. Maybe there's some new paint that could take care of this problem....
.... or, howabout the oldest known paint in history? Nine thousand year old cave paintings have been found in Asia, and they are painted with Casein. The Byzantines, Romans and Renaissance painters used it as well- even Edvard Much's 'The Scream' was in casein. It's binder is derived from milk (casein comes from the Latin word for Cheese), and behaves like a mix of acrylic and oils. The best part is that it dries to an absolutely matte surface, and the scanner loves it!! After I finished my first painting I scanned it and was shocked at how beautifully it scanned. Normally I need to spend a good amount of time in photoshop attempting to recover and restore the file to something that vaguely resembles the original art, but the raw scan was practically a bulls-eye. I'm not sure if this is too much rambling for those less interested in painting, so let me just say that the idea of finally being able to have my art received as I intended... it feels like I've discovered fire.
On to pictures...
First up, my first casein painting. Night Light, 8x10" on masonite:
I had the pleasure of reading some of Night Light in advance, and it's quite entertaining indeed! I'll let Chris explain in his own words (he's the writer after all):
As you might imagine, my correspondence with Chris has been quite entertaining throughout the project. Here's the current layout design, though there will undoubtedly be some adjustments:
I'll be sure to give a heads-up when the book is available for sale.
My second casein painting is for Eric Webb, who has written a Role Playing Game 'monograph' for Chaosium, Inc. . He's a writer, too, so I'll pass him the microphone:
Here's the cover art, Casein 10x13" on illustration board:
I'll be sure to give a heads-up when it is available for purchase.
If you can't tell, I am loving the new paint and I cannot wait to see where it leads me, I'm going to be able to do things I never have been able to with acrylic. I think switching gears was good for my creativity, it's forcing me to think differently when painting- and that's always good for blowing out the cobwebs!
Next episode... a new print for sale!
cheers!
~Paul
Some may recall my occasional grumblings about not getting my art to reproduce well, granted no reproduction ever meets to the in-person experience but as artists we can hope to come close. There are many factors which are simply out of my hands (the viewer or publisher's computer, OS, browser, monitor, printer, etc- simply too many steps and variables), but then some things can be controlled. Since about '92 I have been using acrylic almost exclusively, I am more familiar with it than any other paint but it has always been a challenge when it comes to scanning, photography and reproduction. In part this is because the values in my art (shades from light to dark) are mostly stacked in the darker end, and my paint tends to be quite shiny. Have you noticed that bodybuilders often tan and oil themselves to accentuate as much of their surface as possible? Well, when you have a dark shiny painting you're effectively doing the same thing in the scanner or camera's eye. I've hired professional photographers and scanning services, and they were a bust as well. Every bit of paint texture is highlighted with stark glare and the 'valleys' of the paint texture fall into shadow- things like the color and value get completely upstaged by the texture of the painting (which is not the focus of my work). So, what does one do, change their chosen style in order to be received more clearly? For me that was a daunting idea, and perhaps a bit disheartening to feel like I might have to start over and reinvent my painting style. Maybe there's some new paint that could take care of this problem....
.... or, howabout the oldest known paint in history? Nine thousand year old cave paintings have been found in Asia, and they are painted with Casein. The Byzantines, Romans and Renaissance painters used it as well- even Edvard Much's 'The Scream' was in casein. It's binder is derived from milk (casein comes from the Latin word for Cheese), and behaves like a mix of acrylic and oils. The best part is that it dries to an absolutely matte surface, and the scanner loves it!! After I finished my first painting I scanned it and was shocked at how beautifully it scanned. Normally I need to spend a good amount of time in photoshop attempting to recover and restore the file to something that vaguely resembles the original art, but the raw scan was practically a bulls-eye. I'm not sure if this is too much rambling for those less interested in painting, so let me just say that the idea of finally being able to have my art received as I intended... it feels like I've discovered fire.
On to pictures...
First up, my first casein painting. Night Light, 8x10" on masonite:
I had the pleasure of reading some of Night Light in advance, and it's quite entertaining indeed! I'll let Chris explain in his own words (he's the writer after all):
Chris here, Paul's lucky collaborator. I’ve decided to go ahead and add another entry to the already crowded Indonesian-demons-in-a-porno-store subgenre. However, it’s Paul’s amazing cover art that will make this relentlessly tasteless gorefest of a novel stand out from hundreds of other similar works.
Synopsis? Sure. At a second-rate adult bookstore, the night shift collects its usual crowd of misfits, lonely-hearts and seekers, as well as a down-on-her-luck “star” in town for a signing. But the owner’s ambitious attempt to hawk harder-edged material from overseas has horribly backfired: an air-mailed package turns out to contain far worse than naughty footage. Instead, a trio of vengeful demons has hitched a ride (if you’re wondering how three demons pack into a FedEx box, er, you’ll just have to read it) and is hell-bent on feasting upon whatever luckless porn-store denizen opens the package. In the time-honored way of such things, the trapped survivors must battle the hideous clan of monsters, each other, and their own dark pasts. Will the puny humans determine what the heck the demons are after? Will the authorities show up, only to get their rears kicked in spectacularly graphic fashion? Most importantly, will the Gang Bang Girl DVDs be knocked hopelessly out of alphabetical order?
All lame hilarity aside, I’m going for scares, originality, and above all an entertaining way to escape the fetid world around us for a couple of hours. The monsters are one-of-a-kind (hey, just check out Paul’s cover), or at least they’re not seen too often in American horror—Indonesian demons, led by the penanggalan, the disembodied, viscera-trailing head of an evil witch that loathes men and feeds on the unborn. She has brought with her her granddaughter, a beastly spirit that occupies the bodies of young women, and their pet, a foot-long telepathic cricket able to control the thoughts and actions of its victims. Eh? Eh?
As you can see, the crazy awesome cover is done, and now only formatting remains. Paul and I hope to have an Amazon link up by the end of August that you good people can use to buy yourselves a copy if you so desire (and we certainly hope you do). Hey, if the book itself knocks you into a stupidity coma, you’ve still got Paul’s artwork in hand, right?
Gracias, all!
As you might imagine, my correspondence with Chris has been quite entertaining throughout the project. Here's the current layout design, though there will undoubtedly be some adjustments:
I'll be sure to give a heads-up when the book is available for sale.
My second casein painting is for Eric Webb, who has written a Role Playing Game 'monograph' for Chaosium, Inc. . He's a writer, too, so I'll pass him the microphone:
Operation Ulysses will be a military science fiction campaign for the Basic RolePlaying system available through Chaosium Inc. Operation Ulysses takes place within the Gammadon fields, scene of an apocalyptic space war fought millennia ago by two extinct species. The shattered remains of their colossal starcraft still drift aimlessly and their ancient atomic mines even now patrol the space lanes, seeking to destroy any ship traversing the system. Midway through its journey across the Gammadon fields, near the planet of Ion 9, the ISIS corp. star freighter Ulysses was inexplicably wrenched out of hyperspace by an unknown form of energy. Shortly after its initial distress call, all communication between ISIS Corp. and the Ulysses was lost. Contacted by ISIS Corp., you and your team have been hired to travel to the Gammadon fields to unlock the mysteries behind the disappearance of the Ulysses.
Chaosium Monographs are longer works by one or more authors on a single idea or concept. On these products, the writer fulfills the function of editor and artist. Chaosium does little in the way of editorial. They have adopted this idea to provide a way for writers to present their role playing background, game, or setting to a select audience of Chaosium role players.
Here's the cover art, Casein 10x13" on illustration board:
I'll be sure to give a heads-up when it is available for purchase.
If you can't tell, I am loving the new paint and I cannot wait to see where it leads me, I'm going to be able to do things I never have been able to with acrylic. I think switching gears was good for my creativity, it's forcing me to think differently when painting- and that's always good for blowing out the cobwebs!
Next episode... a new print for sale!
cheers!
~Paul
poster art for the H.P. Lovecraft Film Festival
Hello!
I just had the great opportunity to create the artwork for the 2010 H.P. Lovecraft film festival! Previous artists have included Berni Wrightson (Swamp Thing) and Mike Mignola (Hellboy), so it doesn't take a great stretch of the imagination to see how this would be quite a flattering honor. The event has run in Portland since 1995, but starting this year it will also run in Los Angeles. Word has it the festival may spread elsewhere if there are willing venues and organizers. With fingers crossed, my recent short Eldritch Light & Shadow may be accepted into this year's festivals!
The requirements for the poster were to convey something of Lovecraft and film (viewing, making, etc)- the Lovecraft part was easy enough though I wanted it to be a bit more colorful to catch eyes because it's an advertisement. I settled on a small film crew, probably some "extreme documentarians", risking it all to win some footage of a Lovecraftian entity. I painted the creature first, I chose Shub-Niggurath because I hadn't painted her before and it also has a lot of the classic trappings of Lovecraft's creatures. As with some of my Yog-Sothoth paintings, I went for a more epic landscape approach.
I was uncertain about the execution of the crew, who I decided would be using some sort of precarious crane to get a good vantage point, so I painted it without the crew:
(11x17" acrylic) Then I painted the crew on a separate piece of illustration board, scanned it and dropped it over the painting in photoshop. This allows me to use the painting in both ways, and with photoshop I can experiment with the size angle and placement:
I feel it contains a bit more humor than much of my work, but I like how it satisfied many of the connected sentiments of the Mythos (the otherworldly, the wondrous, the grotesque, the infinite and the people who dare to meddle with it). It also provides a nice sense of scale, which adds to the impact of the creature/god.
I'm told the posters are at the printers, and if things are run as they have in the past they ought to be for sale (at the festival and/or online at some point), and the L.A. version will look a lot like this:
Below is some information about the festivals:
_______________________________________________________________________
Los Angeles fest = Saturday, September 11, 2pm-late at the art deco Warner Grand Theater in San Pedro.
Tickets are $20 until August 11, $25 after
Featuring six of the first and best films from the past 14 years of Portland festivals in two blocks. Also includes a performance by Astra dance (an Edgar Allan Poe-inspired dance theater troupe) and the after party at the Victorian era styled Whale & Ale pub.
main site: http://www.hplfilmfestival.com/ October 1-2-3, 2010 at the Hollywood Theatre, Portland Oregon
Tickets, schedule, guest list, etc., for the Los Angeles HPLFF: http://www.brownpapertickets.com/event/117721
_______________________________________________________________________
Next up... painting with cheese... I mean it this time!!
~Paul
I just had the great opportunity to create the artwork for the 2010 H.P. Lovecraft film festival! Previous artists have included Berni Wrightson (Swamp Thing) and Mike Mignola (Hellboy), so it doesn't take a great stretch of the imagination to see how this would be quite a flattering honor. The event has run in Portland since 1995, but starting this year it will also run in Los Angeles. Word has it the festival may spread elsewhere if there are willing venues and organizers. With fingers crossed, my recent short Eldritch Light & Shadow may be accepted into this year's festivals!
The requirements for the poster were to convey something of Lovecraft and film (viewing, making, etc)- the Lovecraft part was easy enough though I wanted it to be a bit more colorful to catch eyes because it's an advertisement. I settled on a small film crew, probably some "extreme documentarians", risking it all to win some footage of a Lovecraftian entity. I painted the creature first, I chose Shub-Niggurath because I hadn't painted her before and it also has a lot of the classic trappings of Lovecraft's creatures. As with some of my Yog-Sothoth paintings, I went for a more epic landscape approach.
I was uncertain about the execution of the crew, who I decided would be using some sort of precarious crane to get a good vantage point, so I painted it without the crew:
(11x17" acrylic) Then I painted the crew on a separate piece of illustration board, scanned it and dropped it over the painting in photoshop. This allows me to use the painting in both ways, and with photoshop I can experiment with the size angle and placement:
I feel it contains a bit more humor than much of my work, but I like how it satisfied many of the connected sentiments of the Mythos (the otherworldly, the wondrous, the grotesque, the infinite and the people who dare to meddle with it). It also provides a nice sense of scale, which adds to the impact of the creature/god.
I'm told the posters are at the printers, and if things are run as they have in the past they ought to be for sale (at the festival and/or online at some point), and the L.A. version will look a lot like this:
Below is some information about the festivals:
_______________________________________________________________________
Los Angeles fest = Saturday, September 11, 2pm-late at the art deco Warner Grand Theater in San Pedro.
Tickets are $20 until August 11, $25 after
Featuring six of the first and best films from the past 14 years of Portland festivals in two blocks. Also includes a performance by Astra dance (an Edgar Allan Poe-inspired dance theater troupe) and the after party at the Victorian era styled Whale & Ale pub.
main site: http://www.hplfilmfestival.com/ October 1-2-3, 2010 at the Hollywood Theatre, Portland Oregon
Tickets, schedule, guest list, etc., for the Los Angeles HPLFF: http://www.brownpapertickets.com/event/117721
_______________________________________________________________________
Next up... painting with cheese... I mean it this time!!
~Paul
The answers are all here...
... well, the answers to a recent interview, that is! Long-time Lovecraft enthusiast and supporter-of-the-tentacular-arts extraordinaire Matt Cowger has interviewed me for Revolution Science Fiction (or RevolutionSF to most).
Here it is: http://www.revolutionsf.com/article.php?id=4939
I enjoyed being asked questions that I am not commonly asked, it means I have to think about the question and come to some conclusion- meaning I've probably learned something in the process as well. We may all have curiosities about ourselves, but I find we don't always fully push through the process and come out with new knowledge- an open ended question we leave unaddressed. Having someone interview you is a lot like having a deadline for an illustration, it helps you focus on a target and be sure to complete it.
Some moons ago I joined an artist-oriented forum/community called deviantART At the time I didn't really understand what it was for, so my account remained stagnant for some years. Last month at the show at Observatory, Dan Harding encouraged me to give it a shot again. I did, and I am glad! I've found it an excellent way to interact with other artists and people who appreciate it. If you're an artist at any level and are looking for exposure, interaction and feedback, I highly recommend it. I would say the the interface isn't terribly intuitive (at least for me) so I am still getting my bearings. Here's my deviantART profile: http://nightserpent.deviantart.com/
Next episode: new art made from cheese!
stay tuned,
~Paul
Here it is: http://www.revolutionsf.com/article.php?id=4939
I enjoyed being asked questions that I am not commonly asked, it means I have to think about the question and come to some conclusion- meaning I've probably learned something in the process as well. We may all have curiosities about ourselves, but I find we don't always fully push through the process and come out with new knowledge- an open ended question we leave unaddressed. Having someone interview you is a lot like having a deadline for an illustration, it helps you focus on a target and be sure to complete it.
Some moons ago I joined an artist-oriented forum/community called deviantART At the time I didn't really understand what it was for, so my account remained stagnant for some years. Last month at the show at Observatory, Dan Harding encouraged me to give it a shot again. I did, and I am glad! I've found it an excellent way to interact with other artists and people who appreciate it. If you're an artist at any level and are looking for exposure, interaction and feedback, I highly recommend it. I would say the the interface isn't terribly intuitive (at least for me) so I am still getting my bearings. Here's my deviantART profile: http://nightserpent.deviantart.com/
Next episode: new art made from cheese!
stay tuned,
~Paul
News from the show!
Hello!
I've just returned from New York, and had an excellent time at the show. The gallery was quite easy to get to, one can take the N or R train from Manhattan and it drops you off about three blocks from the gallery. Appropriately enough, this neighborhood borders Red Hook, where Lovecraft briefly lived. The gallery is a converted factory space, and it also includes an exhibit on the history of the area.
The show itself was cram packed with Lovecraftian goodness. I'd guess about 30-40 two-dimensional pieces and perhaps ten sculptural. Shortly after arriving, the place filled up right away- the irony of a good opening makes it hard to view any of the artwork!
This is me (left) with Dylan Thuras the show's curator:
Next to me is Dan Harding , a truly gifted painter of nasty creatures:
Here's Dan's excellent oil painting of Cthulhu:
I met Kurt Komoda , brother of artist Paul Komoda:
Kurt had two amazing sketchbooks on display. "Sketchbook' is a bit of a misnomer, because many pages were painted in color. There was nothing sketchy about it, and there was always a good crowd pouring through the pages. I am holding one of my paintings that couldn't fit in the show. My shirt is by Dave Carson , by the way, who had a print on exhibit.
Below is Matt Buck, fresh out of Ringling art school he shared a beautiful portrait of Lovecraft himself wearing a tentacle tie:
If I can get a larger image of his painting, I'll include it- it's very nicely done!
It was very nice to meet other like-minded artists, it's something I feel like I am lacking in my own local community. It's great to talk shop with those who tread a similar path. However, there weren't just artists there, also in the mix was Tom Lynch and Oscar Rios from Miskatonic River Press (publishers of licensed Call of Cthulhu game material):
The night went by way too fast and I was wiped out by the end, but I can't complain one bit. I made some new friends, saw some inspiring art and hopefully have some new opportunities around the corner. I couldn't have asked for a better night.
It's a little grainy, but here's a Youtube video to give you an idea of the gallery space and exhibition:
http://www.youtube.com/watch?v=p3KK6kXv0hk
Though the show is scheduled to go to July 23, it may extend though August. Thanks to Dylan Thuras for this amazing opportunity!
~Paul
I've just returned from New York, and had an excellent time at the show. The gallery was quite easy to get to, one can take the N or R train from Manhattan and it drops you off about three blocks from the gallery. Appropriately enough, this neighborhood borders Red Hook, where Lovecraft briefly lived. The gallery is a converted factory space, and it also includes an exhibit on the history of the area.
The show itself was cram packed with Lovecraftian goodness. I'd guess about 30-40 two-dimensional pieces and perhaps ten sculptural. Shortly after arriving, the place filled up right away- the irony of a good opening makes it hard to view any of the artwork!
This is me (left) with Dylan Thuras the show's curator:
Next to me is Dan Harding , a truly gifted painter of nasty creatures:
Here's Dan's excellent oil painting of Cthulhu:
I met Kurt Komoda , brother of artist Paul Komoda:
Kurt had two amazing sketchbooks on display. "Sketchbook' is a bit of a misnomer, because many pages were painted in color. There was nothing sketchy about it, and there was always a good crowd pouring through the pages. I am holding one of my paintings that couldn't fit in the show. My shirt is by Dave Carson , by the way, who had a print on exhibit.
Below is Matt Buck, fresh out of Ringling art school he shared a beautiful portrait of Lovecraft himself wearing a tentacle tie:
If I can get a larger image of his painting, I'll include it- it's very nicely done!
It was very nice to meet other like-minded artists, it's something I feel like I am lacking in my own local community. It's great to talk shop with those who tread a similar path. However, there weren't just artists there, also in the mix was Tom Lynch and Oscar Rios from Miskatonic River Press (publishers of licensed Call of Cthulhu game material):
The night went by way too fast and I was wiped out by the end, but I can't complain one bit. I made some new friends, saw some inspiring art and hopefully have some new opportunities around the corner. I couldn't have asked for a better night.
It's a little grainy, but here's a Youtube video to give you an idea of the gallery space and exhibition:
http://www.youtube.com/watch?v=p3KK6kXv0hk
Though the show is scheduled to go to July 23, it may extend though August. Thanks to Dylan Thuras for this amazing opportunity!
~Paul
R'lyeh Arises! + show update
Greetings!
I am finally ready to unveil the Haiti auction painting. The chosen subject was R'lyeh - the sunken city where Cthulhu lies dreaming. The winning bidder wanted to wait to see the art in person for the first time rather than in-progress photos, so as not to spoil the surprise I have refrained from publicly posting until now. It's 11x17" acrylic on illustration board:
I really enjoyed this piece, I felt it pushed me to explore parts of my approach to painting that I hadn't dealt with. I think I might generally use the term "logical" when it comes to my way of rendering objects, whether it is accurate or not I develop a system of rules to adhere to. However, when dealing with a subject matter which just simply doesn't make sense to the human brain, rules just aren't always going to make sense. It was quite liberating to just let go and enjoy. I am currently working on releasing this as a poster or print.
For those interested in the Lovecraft art show in Brooklyn (June 11), there's an official press release at the gallery site: http://observatoryroom.org/2010/05/26/exhibition-opening-a-love-craft/ It appears that the group has doubled to a truly impressive lineup! I'll share any more details as I receive them.
cheers!
~Paul
I am finally ready to unveil the Haiti auction painting. The chosen subject was R'lyeh - the sunken city where Cthulhu lies dreaming. The winning bidder wanted to wait to see the art in person for the first time rather than in-progress photos, so as not to spoil the surprise I have refrained from publicly posting until now. It's 11x17" acrylic on illustration board:
I really enjoyed this piece, I felt it pushed me to explore parts of my approach to painting that I hadn't dealt with. I think I might generally use the term "logical" when it comes to my way of rendering objects, whether it is accurate or not I develop a system of rules to adhere to. However, when dealing with a subject matter which just simply doesn't make sense to the human brain, rules just aren't always going to make sense. It was quite liberating to just let go and enjoy. I am currently working on releasing this as a poster or print.
For those interested in the Lovecraft art show in Brooklyn (June 11), there's an official press release at the gallery site: http://observatoryroom.org/2010/05/26/exhibition-opening-a-love-craft/ It appears that the group has doubled to a truly impressive lineup! I'll share any more details as I receive them.
cheers!
~Paul
Two new album covers, Lovecraft art show date changed
Hello!
The Lovecraft art show at Observatory has been pushed back to June 11. I think this may end up being a more successful date, as it is now a Friday rather than a Tuesday immediately following Memorial Day weekend.
I've recently had the pleasure of creating some artwork for heavy metal album covers. Not only am I a fan of the genre, I find it very rewarding and enjoyable to work for/with musicians. In part I suppose it could be that I've been wanting to do this for a long long time, but it's also a nice thing to create for creative people. They tend to be quite sympathetic and encouraging me to just let loose and do my own thing. I suppose they can relate, and more often than not it results in a far better outcome.
First up is the album 'Pain Amplifier' by the band Mythos from Finland. This is a re-release, and it will be on vinyl. I'm thrilled that vinyl is making a return, it's much more conducive to the art:
The concept came from a discussion with the record label. I had mentioned that the title gave me the image of an alien machine which takes one's inner turmoil and projects it into the mind of someone else. Mis-communication turned 'alien machine' into 'alien'- the machine is a living thing... much more interesting! The colors may be muted in the printed product to better suit the expectations of the intended audience.
Next up, a local act... Morgirion from New England. Though I thoroughly enjoy working for the international acts, it's great to have some interaction with near-by musicians. The design originated from a medieval woodcut, and then I just kind of ran with it and gave it my own spin:
~Paul
The Lovecraft art show at Observatory has been pushed back to June 11. I think this may end up being a more successful date, as it is now a Friday rather than a Tuesday immediately following Memorial Day weekend.
I've recently had the pleasure of creating some artwork for heavy metal album covers. Not only am I a fan of the genre, I find it very rewarding and enjoyable to work for/with musicians. In part I suppose it could be that I've been wanting to do this for a long long time, but it's also a nice thing to create for creative people. They tend to be quite sympathetic and encouraging me to just let loose and do my own thing. I suppose they can relate, and more often than not it results in a far better outcome.
First up is the album 'Pain Amplifier' by the band Mythos from Finland. This is a re-release, and it will be on vinyl. I'm thrilled that vinyl is making a return, it's much more conducive to the art:
The concept came from a discussion with the record label. I had mentioned that the title gave me the image of an alien machine which takes one's inner turmoil and projects it into the mind of someone else. Mis-communication turned 'alien machine' into 'alien'- the machine is a living thing... much more interesting! The colors may be muted in the printed product to better suit the expectations of the intended audience.
Next up, a local act... Morgirion from New England. Though I thoroughly enjoy working for the international acts, it's great to have some interaction with near-by musicians. The design originated from a medieval woodcut, and then I just kind of ran with it and gave it my own spin:
~Paul
Lovecraftian art show and a movie...
Hello!
I've got some great news to share... I will be participating in a H.P. Lovecraft themed art show in Brooklyn, NY on June 11th. The venue is Observatory, it looks like a fascinating space with a regular supply of unusual exhibits and presentations. I'm quite excited, to say the least, this will be my first real showing of my Lovecraft art in the states. If that wasn't enough, I will again be joined by a very talented and humbling group of Mythos artists. Currently slated to participate: Bob Eggleton, Centipede Press, Mike Dubisch, Stephen Hickman, Dan Harding, Joel Harlow, and Aeron Alfrey of Monster Brains! Perhaps some of you could come out to see the show, which will run for six weeks.
I have collaborated with musician Stephen Painter of Dark Sunny Land has joined me for a video project. We took a track named Dying Factory from his recent CD, Kon Taan Kor, and selected pieces of my art that went well with the atmospheric qualities of the sound. Take a look for yourself:
http://www.youtube.com/watch?v=kMo52znisRs
cheers!
~Paul
I've got some great news to share... I will be participating in a H.P. Lovecraft themed art show in Brooklyn, NY on June 11th. The venue is Observatory, it looks like a fascinating space with a regular supply of unusual exhibits and presentations. I'm quite excited, to say the least, this will be my first real showing of my Lovecraft art in the states. If that wasn't enough, I will again be joined by a very talented and humbling group of Mythos artists. Currently slated to participate: Bob Eggleton, Centipede Press, Mike Dubisch, Stephen Hickman, Dan Harding, Joel Harlow, and Aeron Alfrey of Monster Brains! Perhaps some of you could come out to see the show, which will run for six weeks.
I have collaborated with musician Stephen Painter of Dark Sunny Land has joined me for a video project. We took a track named Dying Factory from his recent CD, Kon Taan Kor, and selected pieces of my art that went well with the atmospheric qualities of the sound. Take a look for yourself:
http://www.youtube.com/watch?v=kMo52znisRs
cheers!
~Paul
win your own custom Lovecraftian painting- Haiti relief auction
Hi All!
I've been wanting to do something to help out with the Haiti relief efforts, I think my art is perhaps my best tool for the job. I am auctioning a Lovecraft painting, and 100% of the winning bid goes to charity. What's the subject of the painting? That's your choice. Read all about it here:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=190372901797
cheers!
~Paul
I've been wanting to do something to help out with the Haiti relief efforts, I think my art is perhaps my best tool for the job. I am auctioning a Lovecraft painting, and 100% of the winning bid goes to charity. What's the subject of the painting? That's your choice. Read all about it here:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=190372901797
cheers!
~Paul
Deep one prototype and new custom Cthulhi
Greetings!
I have a couple of new custom Cthulhu statues to share. One is a darker bronze scheme with glowing green eyes, the other is a blue marble coming to life:
Each piece has been an interesting challenge, I think it's because the sculpture has much to do with texture more than all else. Finding the right balance between defining the form and surface pattern is where the puzzle generally happens. Though the mold and master are broken, I still have a number left for more custom orders, please contact me if you'd like one for yourself. I may also make a few unpainted copies available for those familiar with garage-style resin castings (some clean up involved).
Next up, I took the sketches of the deep one miniature design and worked it into a "3-up", which is a 300% sized sculptural sketch. Though I felt the sketches helped explain a lot of the shapes, it lacked a sense of completeness that only a 3 dimensional model can convey. The putties used to sculpt most miniatures are especially tricky to use (very sticky and with limited working time), so the more I know how the miniature will be shaped the more direct and intentional I can get with the putty. When I finished the basic figure (out of Super Sculpey, a bake-able polymer clay), I became tempted to paint it up for fun... and then gave it a decorative base as well. The base is 5 x 6", the creature is about 3-1/2".
As always, I enjoy the feedback. Until next time,
~Paul
I have a couple of new custom Cthulhu statues to share. One is a darker bronze scheme with glowing green eyes, the other is a blue marble coming to life:
Each piece has been an interesting challenge, I think it's because the sculpture has much to do with texture more than all else. Finding the right balance between defining the form and surface pattern is where the puzzle generally happens. Though the mold and master are broken, I still have a number left for more custom orders, please contact me if you'd like one for yourself. I may also make a few unpainted copies available for those familiar with garage-style resin castings (some clean up involved).
Next up, I took the sketches of the deep one miniature design and worked it into a "3-up", which is a 300% sized sculptural sketch. Though I felt the sketches helped explain a lot of the shapes, it lacked a sense of completeness that only a 3 dimensional model can convey. The putties used to sculpt most miniatures are especially tricky to use (very sticky and with limited working time), so the more I know how the miniature will be shaped the more direct and intentional I can get with the putty. When I finished the basic figure (out of Super Sculpey, a bake-able polymer clay), I became tempted to paint it up for fun... and then gave it a decorative base as well. The base is 5 x 6", the creature is about 3-1/2".
As always, I enjoy the feedback. Until next time,
~Paul
Evolution of the Deep Ones continues
Hello!
I'd like to thank everyone who has sent me comments about the Deep One designs, not only here but via email and other forums as well. My head began to swim a bit with all the comments, and I was challenged to come up with something that would meet expectations. The problem is, a lot of the great suggestions would take me in opposing directions (more fishy, more froggy, bigger, smaller, etc). Yet, as the conversations continued, I discovered that people in general are quite accepting to a slightly different take. Evidently, many people are more than willing to use miniatures from different manufacturers, and the variety doesn't bother them at all. I found this to be quite liberating, so I took the suggestions that resonated the strongest within me, and I ran... er... shambled with it.
The feet in particular remind me of a snapping turtle's feet, which I think would make sense. Ancient, aquatic, clawed, durable, formidable.
If this project expands beyond the one design, I certainly would like to explore variations on anatomy. Reading the texts, it's not hard to imagine quite a variety in size and shape. They take a long time to mutate from people, so factors like diet, habits and location over the decades and centuries could possibly reap diverse results. If your suggestions aren't seen in this current design, it may very well manifest on others. If I have the option to expand to older specimens, including priest-types, there will be quite a lot of interesting concepts to play with.
Delving further into the project, I was able to involve Deep Ones in an illustration for Sixtystone Press. I'd like to think that the design is better for me having done the painting (as a form of study), and the painting is better for my having so much planning under my belt due to the miniature project. The chapter is about psychic ability, it explains how certain species (such as Deep Ones) as well as the insane can communicate telepathically. This sparked my imagination, and I envisioned a break in at the Sanitarium...
It's acrylic, roughly 8-1/2x10", and I can't wait for the next one!
until next time....
~Paul
I'd like to thank everyone who has sent me comments about the Deep One designs, not only here but via email and other forums as well. My head began to swim a bit with all the comments, and I was challenged to come up with something that would meet expectations. The problem is, a lot of the great suggestions would take me in opposing directions (more fishy, more froggy, bigger, smaller, etc). Yet, as the conversations continued, I discovered that people in general are quite accepting to a slightly different take. Evidently, many people are more than willing to use miniatures from different manufacturers, and the variety doesn't bother them at all. I found this to be quite liberating, so I took the suggestions that resonated the strongest within me, and I ran... er... shambled with it.
The feet in particular remind me of a snapping turtle's feet, which I think would make sense. Ancient, aquatic, clawed, durable, formidable.
If this project expands beyond the one design, I certainly would like to explore variations on anatomy. Reading the texts, it's not hard to imagine quite a variety in size and shape. They take a long time to mutate from people, so factors like diet, habits and location over the decades and centuries could possibly reap diverse results. If your suggestions aren't seen in this current design, it may very well manifest on others. If I have the option to expand to older specimens, including priest-types, there will be quite a lot of interesting concepts to play with.
Delving further into the project, I was able to involve Deep Ones in an illustration for Sixtystone Press. I'd like to think that the design is better for me having done the painting (as a form of study), and the painting is better for my having so much planning under my belt due to the miniature project. The chapter is about psychic ability, it explains how certain species (such as Deep Ones) as well as the insane can communicate telepathically. This sparked my imagination, and I envisioned a break in at the Sanitarium...
It's acrylic, roughly 8-1/2x10", and I can't wait for the next one!
until next time....
~Paul