Cthulhian Priests, A Group of Geeks and Kickstarters

Cthulhian Priests, A Group of Geeks and Kickstarters

So it has been a busy week for me working on kickstarters, painting Cthulhian Priests to get away from kickstarters and forming a new facebook group because I couldn't find one like it. 

 

 So I thought I would start things off by taking you through the process I did for the Cthulhian priest. The piece actually started many years ago and was a sketch from the first page of my travel sketch book!

So I took the face of that old sketch into photoshop and refined it as well as adding on a posed body. For some reason I was in a Nehru jacket mood so I designed his robe that way. I think it was because I was remembering a Weird Al Song.

Once the sketch was done I did a highly refined value painting of him. To get here I start of the values very softly and in general and then I slowly start tightening up the image into sharp details.

Then using an old photo as reference I took while down in la Jolla cove visiting some good friends I painted an alien world, because any good Lovecraftian will tell you that Cthulhu is just a powerful (godlike) alien and his race is called the Star Spawn. This guy is not Star Spawn but he is related!

I then start washing over the value painting with local or base colors for atmosphere and color balance. When I choose my base colors I am often looking for simultaneous contrast which is a fancy artist term for colors making each other look more vivid by being next to each other.

After laying out out the base colors I threw in a little pattern design to the robe to make it look richer.

 After the robes I start adding more color by adding warm color to the light side of my image and cool colors for the shadow sides of my image. This is one of my favorite parts because it helps bring the image to life!

Lastly comes the final touches, color adjustments, clean up, polishing and final little details! This painting took me all day and I needed that distraction from stress of Kickstarter work.

Toward the end of the week I was looking for Facebook groups to join and I wanted a group that was all about being a geek which I am proud to call myself through and through, but the sad panda cried because I could not find one. So what to do? Well create one of course!

I created We Be Geek to be a safe group in which geeks can share general geekiness with other fellow geeks. There are Facebook groups all over that are very specific in their geek interests, but I felt that a lot of geek interests overlap. By the 3rd day we have already gained 131 members! We talk about all kinds of things from video games, cult movie classics, roleplaying games, cool art, science and more! I have even set the rules for limited self-promotion as long as it is geeky in nature or can help geeks out!

If you become an active member you will also receive an official Geek card with your picture, name and Geek number! Everyone loves them! To get one all you have to do is be a member, be active and show you can get your Geek on! I will then make one for you!






So if you are on Facebook be sure to drop by the group, check out all the fun we are having and feel free to join! All are welcome!    We Be Geek!

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Last but not least, as some of you know or don't know is that for the past 27 days Nathan Maher and I have been running a kickstarter for the first expansion to the game Spooks! Welcome to the Great Beyond! The Kickstarter for Mortal Intrusion is to pay for the time that I can do the artwork, but the writing I am doing for free as I am the coauthor of the book this time! Good art takes time and time requires money which is why we are holding the kickstarter, not only will it be paying for the artwork but also for the publishing costs and goodies we are offering. We want to produce a quality product and while we have met our KS goal, it is only the barebones funds we need to really produce a high quality product so we need more funds.

 Be awesome in what you do and become a backer, share this blog or post in FB or do both to help us reach those stretch goals! Those who become financial backers get great rewards, but you better hurry because we only have about 3 days left!

If you have any questions please feel free to ask them!

Evolution of Cthulhu & Concept Art

Evolution of Cthulhu and Concept Art

I am going to take you on a little journey of the art and design of Cthulhu who has over the years been my most prominent painting subject. For those of you know don't know Cthulhu is H.P. Lovecraft's most famous creation despite the fact that Cthulhu only  appeared Lovecraft novel The Call of Cthulhu. While self training and going to college to gain my artistic skills I had decided  to sharpen my ability to perform as concept artist by working from his prose alone and to not to follow the crowd of previous depictions. Cthulhu has been and always will be my on going project. 

The Old one were, the Old Ones are, 

and the Old Ones shall be.

Cthulhu Rising

 My first attempts at painting Cthulhu was primitive at best because painting skill aside I really didn't understand my subject nor did I understand the process of doing concept art or the finer aspects of composition. This was actually before I had even read Lovecraft's work and I only saw the works of others and thought he was cool.

Star Spawn

My second attempt was after I actually started researching and reading Lovecraft's work and I started to understand a little more about Lovecraft's vision. This piece for example is a Starspawn part of Cthulhu's race once I learned that Cthulhu is actually an alien from another world, but his power was so great that he was elevated to godhood status by mankind. As you can see my skill was improving but I was also trying to break free from the depictions other artists have done in the past.

I did this piece when I finally started to understand the need of a visual narrative of an illustration and concept piece. I learned that I had to stimulate the imaginations of my viewers with my work in order to engage them. I kept things simple and straight forward and the feedback I got from this attempt was positive. It was then that I started to learn that I can't operate in a vacuum and needed feedback from my audience.

Lovecraft's Original Sketch

             Wishful Thinking 

Blind Perspective

About this time I was exploring Cthulhu's design even more, but this time I allowed to look at only one visual depiction and that was from Lovecraft's own sketch of how he saw Cthulhu looking. Also during this time I was really learning how to push my rendering skills and exploring in techniques of color and rendering.

Cthulhu Concept

In this design I was trying to break away from the conventional presentations of how Cthulhu was suppose to look like. At this point in time I ended up view other Cthulhu depictions. I think at the time I was also being influenced by other movies. For instance, I forget the name of the movie but it showed a dragon that had feather like wings that were actually scales.

Ends to a Mean

Once again I was exploring the narrative and to this day I found that being able to show a narrative is not only important for illustration but also for concept art and for the very same reasons. One of illustration and concept artwork most important aspects is the need to communicate to the viewer whether it be a general audience or an art director. This piece was also about having fun as it is bit of fan art when you notice the cube the little girl is holding is the puzzle box from the Movie Hell Raiser.

Cthulhu Sketch

This piece actually was a sketch I did during a lecture in one of my art classes, but I was paying attention, honest! This was an important design because I had started to to get tunnel vision in my design and I started to let go. When I mean by tunnel vision I mean it was the only solution I felt was worth exploring or I felt that would work. Letting go of such perceptions is probably one of the hardest things to do in order to become a good concept artist because you have to be able to present different variations of a single subject in order to get the desired result.

Cthulhu's Uninvited 

Again in this piece I was exploring the narrative more and a bit of design as well. I was also returning to the literary description as it described Cthulhu having scales.

Wishful Thinking 2

Here I returned to this piece knowing sometimes going back and doing it again is a good thing and that you don't want to throw away a good thing just for the sake of progress.

















Lastly here is my latest concept design of Cthulhu. Again I was letting go of previous design, but I returned to some of the more literary descriptions of Cthulhu by Lovecraft, but also based on feedback and discussions with fellow Lovecraftians. Again here you see my skill has improved considerably and this is due to time of constantly doing art, but also the contracted speculation work I have been doing for MMOmagic as a concept artist which hopefully will pay off someday soon or at the very least has been giving me experience as a concept artist.

Cthulhu Concept

Today I still work as a freelance artist and I don't always know where the money is coming as commissions come in sporadically which makes it hard to pay the bills. In order to counter balance this I have to work with my clients which include helping them or working with them for kickstarter projects like the one below. Please help by becoming a risk free money backer, by sharing this blog on various social media such as Facebook, twitter and more, or be excellent by doing both!

Vote my designs into print!

I have recently joined the Threadless.com Community. If you didn't know Threadless is a clothing and product online store in which artists can submit designs which get voted on. The designs that get the highest votes, most numerous votes, and good comments are then more likely to be printed and sold. If a design is chosen the artist receives royalties on what sells! However I have found this is easier said than done and it seem that it can take 100s of votes to get printed.

Come and check out my latest designs and vote, comment and if you would be so willing share them on your Facebook and other social media sites. Please help support my designs! You do have to sign in to vote, however that is easy as you can sign in with a Facebook account, it's totally hassle free.

https://www.threadless.com/profile/3277753/tobiaswhite77

Arkham: A nice place to Visit: My process

        Ever since Mike Davis was kind enough to show my War of the Worlds Vs Cthulhu composition on his website Lovecraft Ezine and on his corresponding Facebook Page it has been getting more coverage than I have ever had before. So I thought it would be a good idea to share a little bit about the process I took in creating it as well as my other art.


 

However, before I get to my process I will share a detail that doesn't show up well on the versions that I have up on the internet for viewing. First there is a lot more detail to Cthulhu and second is the billboard  advertisement for the fictional Arkham City. While this doesn't show up in most of the web versions, it does show up well on a full size print which can be bought through Zazzle or Deviant Art which you can get to via the page tabs above.

         The first step I took when planning this composition is working up some quick thumbnail sketches in Photoshop. The ratio size of these thumbnail sketches are in direct proportion to the size of the canvas that I desired for the final piece. I already had a good idea of what I wanted, because I had visualized it in a dream, so the changes are minor in the variations for these thumbs, but often this process is a brain storming session, because while at times I might have started off with a small seed of an idea, thumbing may allow it to grow into anything. Mostly what I was looking for was positioning and poses for the primary and secondary foci of this composition. To help me with placement I used my golden ratio overlay tools. You can find out more about that on my Golden-Compositions post. After finding the general positioning and poses that I like, I then add in more content with a few more thumbnails for a more complete composition.

               After I choose the final thumbnail sketch I scale this rough sketch up to a large size canvas and refine the sketch more. During this sketch I am looking for a tighter drawing so my concerns are about proper perspective and form since I don't have to worry about the compositional placement anymore. I also add in more details, but I keep these details loose because I don't want to obsess about it; this is a easy trap to fall into and I try to avoid it at all costs. I sketch right into Photoshop via my Wacom tablet and I do so on a transparent layer because this allows me to paint underneath my sketch so that I can keep my drawing separate from my painting, because the last thing you want to do is be destructive to the work you have already done.


        Painting now begins and I start off  lowering the opacity of my sketch to around 30%  and then lock the layer. I then create a new layer under this and begin painting the local colors I want for all my objects. Sometimes, I will go back and change this as needed. Your local colors are the true color of your objects but they will be effected by the temperature of light and shadow later and so will look very different later on. The only exception I made here was the sky. When I paint skies I just let my intuition take over and taking logic out of the process because doing skies I find to be an abstract experience.



       When finished with that I lock my local color layer and then create two new layers over this to start working in light and shadow. One layer is set to multiply at a lower opacity and soft light on the other. To know more about this process you can check out this other article I wrote called color-blending-fx-brushing-and-photos which not only explains the process but also includes video tutorials I have created.




        Now that I have color and value down close to what I want, I create merged copy layer of what I have created so far and paint directly on that; this way my canvas becomes my pallet and I don't have to worry about using color swatches. I then clean up and make alteration to color as I think it needs it. I also starting laying in some base texture as a starting point for texture and details. I use these textures merely as a starting point and guide and I paint over this to fit the painting.  If you would like to know more about textures then you might check out my texture-hunter part 1.

My last step is to bring the painting home, which generally means that I continue painting in refinements, textures and details. The very last effort I made on this painting was to make one more merged copy of the work I had so far and rotated the image a few degrees for a dutch angle to create some mood but the reason I only did this a little bit because I didn't want to throw my compositional placement off. If I find that I cannot figure out what more to do or if I am getting fussy over the painting I walk away from the painting for several hours and then come back to it with fresh eyes.

So I hope you found this interesting and helpful and would be glad to answer any questions so feel free to ask them in the comment box.

Contrast in Context

Many of you might know that contrast is important for a good composition, but many do not realize, at least not consciously, is that contrast is a complex beast that comes in many different forms, so there are many ways to achieve contrast to help create a strong composition. The different forms include value contrast, simultaneous contrast (part of color theory), contrast in color saturation, in texture, in detail and in size. While it is not needed to include every form of contrasts, it is needed to have two or three of these forms to create a strong focus in a composition.

The reason contrast helps create focus is because our brains are hardwired to automatically look for differences, which is a human survival trait, so we can use this innate behavior to get our viewers to focus on what we wish. If you like adding lots of hidden detail, don’t worry because they will look at the rest of your image, because while the human eye locks on to differences it is constantly tracking for more information and they will, overtime, discover any little gems you have planted. So lets take some time and examine the different forms of contrast and how they work in creating focus.

Contrast in Value

Of course, this is the most well known form of contrast and the most straight forward. To put value contrast simply; light against dark. If you have an image that has a range of dark values then you want your subject to be significantly lighter in its value range than the rest of your image. A good example would be a man standing in a dark room but he is illuminated by a spot light. If you image is range of mostly light values then you want your subject to be of significantly dark values. Either direction that you use this form of contrast will create more focus for your composition.

Notice how the value of the ship makes it stand out more than what is happening to the right hand side of the painting.

Color Saturation Contrast

This is very similar to value contrast, not only does this help create focus but can also make things look either very drab or very intense depending on the mood you are trying to convey. It works mechanically the same as value contrast.

Notice how the saturation of her skin and umbrella stands out more than the background which is subdued in its saturation.

Simultaneous Contrast

Simultaneous contrast is part of color theory and it occurs when you have one color adjacent, but not overlapping, to its color compliment or analogous compliment. When complimentary or analogous complimentary colors are side by side then those colors appear more vivid to our eyes.  When one of these colors is used in combination with low saturation contrast then the color with stronger saturation becomes vivid, but the complimentary color at low saturation is not noticeable and doesn’t always register as the color it actually is, so you will have a color that is strong, creates focus and one that doesn’t show colors you don’t want to show, but are really there in order to enhance the colors you do want to show.

Notice how the orange and yellow colors stand out and look more vivid against the blue background and vice versa.

Contrast in Texture

Contrast can also be created through the density and different types of texture. The first way to create contrast through texture, is to have your main focus to have significantly more or less texture than the rest of your composition. Another way to create contrast through texture is to have texture that totally differs from your main subject and the rest of your composition. A good example is to have something that is totally smooth like an apple set against a background of stucco wall. The rough texture of the wall will contrast against the smooth skin of the apple, but the difference in texture will also emphasize both textures, so the apple will seem very smooth and the wall very rough. Using texture that opposes each other in extremes like rough to smooth, soft to hard, shiny to dull and so on will produce the most noticeable results.

Notice the smooth and soft texture of the water makes the rocks and shells of the turtles more rough in comparison.

Contrast in Detail

The level between detail and the subject of your composition is another way to achieve focus. The simplest way of course to approach this is through the extreme of having your subject having the most detail versus a background of minimal or suggested detail. We still take in the suggestion of the background which gives our subject context for it’s surroundings and allows us to soak in the level of detail of the subject. The reverse can be done as well but the end result might be different in which the background now becomes a focus, but this can be a good strategy if you want a composition that is a world of a lot of hidden details that your viewers might enjoy.

Notice that Alice is the subject and that she stands out but most of the detail is in the rest of the composition.

Contrast in Size

Lastly we have contrast in size in which your subject is either the smallest but noticeable object in your composition in perhaps in a piece where everything is oversized, for example: a tiny man exploring a desk that looks like it belongs to a giant. Vice versa, you have your subject the largest object in your composition, for example: Godzilla or Cthulhu looming over an entire city. Again this is merely tricking the mind into noticing what is different.

Notice how Cthulhu looms in his size to the city but we also notice the girl because how small she is relative to him and the city.

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Now most of the examples of contrast I have given out, are of course, are all in the extreme but this is of course just a starting point and often a composition can have more than one focus, so using a variety or different levels of these contrast methods will help, but one mustn’t ignore other tools of composition such as directional line, mass, balance, suggestion of movement and many, many, more compositional tools. If you would like a good book on these compositional tools and rules then I would highly suggest the book Framed Ink “Drawing and composition for visual storytellers by Macross Mateu-Mestre which is jammed packed full of great information

Call of Cthulhu: Legs

I recently just finished up a group of commissioned illustrations for Jim Philips' new Call of Cthulhu adventure book call Legs. This was an enjoyable project to work on, not only because it was Lovecraftian, but also because of the working relationship I developed with Jim and I was impressed to see the final layout of the book combined with my artwork.

This was the final layout for the book and I think it came out looking really good. The adventure book is for the Call of Cthulhu RPG game and it is a free PDF download. Free PDF Download



















I took a picture of my own hand holding a scrap of paper for a reference of this shot.









One of the few things that can disturb me as a horror artist and that is critters bursting from the skin so I could relate with this guy.










It is always a challenge to do sexy plus gory at the same time. I also used the Schindler's List trick of just using the color red for this mostly black and white piece.







And yet this guy is not even fully grown yet.
















This is the cover with out the text layout, although having the text is really good as well. Not sure what I prefer.

Digital Freehand Inking With Adobe Illustrator

Being a good inker is a valuable skill as either a comic book artist, graphic designer or an illustrator. While traditional inking skills with brush and pen makes for a good solid foundation, having digital inking skills in today's day and age is a must. When it comes to digital inking, knowing how to handle the pen tool is a must and it was something I quickly had to learn during my internship at MGA Entertainment, however using the pen tool, while can give you a lot of control, also takes a lot of time and has it's own problems. The ability to ink fast is another skill that is a must in the art world, because let's face it, the faster you can do quality work the more money you can make. So in this video I am showing how to digitally ink using the blob tool which is more intuitive and has a more natural look. In this video I have used a Cthulhu sketch I did for T-shirt flair in my new clothing line I am calling Lovecraftian Flair.

Visions of Revision

For those that follow my work regularly, they know that my artistic skills have improved over the years. However, when I look back at my past work I still see the potential those composition had. Leonardo da Vinci once said, "Art is never finished, only abandoned" but instead of living with that abandonment I have taken it upon myself to revisit my older works and improve them to make them stronger.

 

Before and After

Wishful Thinking

 Before and After

Grand Priestess of Cthulhu

 Before and After

Cthulhu's Rising: Humanity's Defiance

Before and After

Grand Priestess of Cthulhu 2

Of course I started these revisions off with my Lovecraft pieces as that is something I specialize in, but there will be more revisions to come and they will cover a more variety of subject matters. Feel free to ask any questions you may have and also don't forget to visit my new online store in which you can purchase these paintings as full size prints or as other products such as coffee mugs, skate boards and more!

Check out more of my work at Tobias White Illustrations

You should also follow me on Facebook, linkedin, Deviant Art, or catch me at @TobiasWhite1
Don't forget, you can also purchase many of my works as full sized prints at TBW Designs On Zazzle