Winter's Grip

It's always a little difficult to wait months to show you new work, but when that timeline stretches to a year or longer, it gets really hard. Mainly, it's because I paint work to be seen, and so having it go unseen for long periods of time is counter to my interests. Also, if it goes on too long, then when it is shown, it may not be as relevant. But often that isn't really anyone's fault--a project may get delayed or cancelled or whatever.

In this case, a project for which I did a couple of pieces got delayed, and having passed a year since doing them, the publisher (Imagine Ltd.) was very gracious in allowing me to show the work here. They'd previously allowed me to take the paintings to IlluXCon last year, so a few of you might've seen glimpses when I posted the photo here. So, today I'm happy to bring out the first of these.

I can't of course talk too much about the context for the illustrations, since the project is still in production, even though it's on a temporary hiatus of sorts. So, I'll just show some art!

Winter's Grip, 18x24" Oils on masonite

I painted it in the grip of winter last year, which certainly put me in the mood, though it meant I couldn't escape winter in or out of doors for awhile. As well, if and when the piece finally prints, there'll be some significant changes. There were a few elements in the final illustration that I didn't really want on the painting. Sometimes a painting can be harmed by what an illustration requires and benefits from. What I mean is, suppose the illustration had called for something gruesome besides what's here--that might be helpful in terms of illustrative narration, but as a painting might make it distasteful to hang on one's wall. So, since I paint, if something is requested these days that will make the painting unpalatable, I'll try to leave it out and then add it in digitally. This allows me to not need to pull back in paint in some sort of compromise. Thank you, digital tools.

I always begin the concepting with the full idea in mind, and designing the piece with all the elements in mind. As an illustration, the illustration must come first. Then, if necessary and if it's even possible, I'll think of how I can separate out the elements. Sometimes it's purely digital after scanning. Other times, I can paint a separate piece and composite them. Sometimes, there's no good need or reason, and I just paint the whole thing. Flexibility is key.