The Process Behind 'The Insidious Whisper' #3

Want to go back to the start of the series? Click Here. This is the third instalment in my look at how I created my painting 'The Insidious Whisper'. So let's backtrack and have another look at my initial drawing; you will see that the huge figure has an almost human face with what I was thinking of as a "cracked earth explosion" around his eye. As you do. This linked in with the sheer destructive power of the whisperer. I stuck with this idea for a fair while into the painting process until I started to block in the main elements (see above). Even with a dark area around the eye the head would have been lost due to the strength of the patterns on the arm. I needed something with a lot more

The Process Behind 'The Insidious Whisper' #2

Missed the first part? Click Here. In this post I'm going to talk about colour mixing. Mainly because it was a complete nightmare during the painting of 'The Insidious Whisper'. Grey. It's one of the trickiest colours to mix. The problem is that greys in the real world aren't neutral greys as you'd see in a black and white film. They lean towards a certain colour. Let's see how that works: to mix grey I start with white and then add red, yellow and blue. The proportions of these colours determines the final grey. If they are balanced perfectly a neutral grey is mixed. But if a little yellow is added the grey will tend towards yellow. Extra red and blue will lean it towards purple. When I tal

The Process Behind 'The Insidious Whisper' #1

My painting 'The Insidious Whisper' stems from times when a person's internal monologue goes rogue and becomes his or her worst enemy. But it does it slyly and sneakily, hidden in the mists of the mind so to speak. When this happens, it's not the most useful of things and its main objective is to criticise and generally put down its owner. What makes it so devious is that these thoughts are very hard to spot. But spotting them is the key to turning them around and beating back the foul beast. My original idea was to have a large hulking creature sat in a wooded area, framed by a circle of branches and other foliage. (The work of Brian Froud - see above - was lurking around somewhere in my su

The Seven Gates

I've posted my third painting in The Seven Gates series on my website and it's all getting a little bit darker. I thought that now was the perfect time to tell you more about how and why I'm doing this series of paintings. I've suffered with some form of depression on and off for pretty much all of my adult life. But because I'm not too bad at hiding it, I can function reasonably well. I only realised that I had depression when I heard an interview with Stephen Fry. He talked about how he didn't want to commit suicide but he wouldn't be that bothered if he died. (He would have put it much more eloquently.) At the time this really resonated with me. Since then I've had numerous bouts, some se

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