This section examines my style in how it connects to the mediums I use.
Digital Art
Digital art to me has always been a very direct translation of how I draw on paper. I make some, although arguably not enough, use of the extra tools provided by digital art programs. Layers & the ability to quickly alter colours, thus being able to try various colour schemes easily are especially useful but only serve to heighten my very paper-based style. Generally working with colour is just way more viable.
I think I have a good grasp of gesture & line quality on paper that I would prefer not to lose in translation so I don’t make much use of the stabilisation/precision lineart tools for most of my work. I needed to make use of these for the graphic design elements of the cards, this served as a new challenge and made for an interesting addition to this project. I a, not always able to translate my traditional drawing skill to digital, and it took much practice with the new tools to be able to replicate the fidelity I have on paper.
Colour
My use of colour is very much inspired by Expressionism. A wide-ranging modernist art movement originating in the 20th century, it is defined by the distortion of reality to reflect a subjective experience. This is usually of the artist, and is a form of poetic painting, using the colour and shapes to express what you feel, as opposed to a close translation of reality. Well-known examples include Edward Munch, Vincent Van Gogh and Pablo Picasso in his blue period,
The Old Guitarist-Pablo Picasso
Colour is often a major part of this. Partially by nature and partially due to cultural associations, colours are associated with specific emotions and ideas. Expressionist art takes great advantage of this – rather than depicting subjects in realistic colour, it uses whatever colours best befit the emotion the artist wishes to convey. Limited colour palettes are common, and useful for pushing the overall emotional range further toward an extreme.
The Scream-Edward Munch
The way I use colour in my digital art is influenced by this approach, especially when not directly working from reference. I will generally have a vague idea in my head about what colour objects and characters are supposed to be “in reality”, as is visible in character drawings made for reference purposes. But when setting a specific scene, I will push specific colours to greater prominence, e.g. a scene of high intensity/action/aggression will be dominated by reds and oranges, a sombre scene by blues and greys. The kind of emotion they tend towards will sometimes be reflected in the base character design’s colours as well. I took this to an extreme in my authorship project with limited colour palettes, but it is also important to my approach to colour when not artificially limiting myself.
Vincent Van Gogh- The Roots
I like to start by establishing an overall colour scheme based on mood/general subject, setting the background colour to it helps. Then I first paint in big shapes, and mid-saturation colours, considering values and colour composition. After that, I go into increasing amounts of detail with light & shadow, using more saturated colours. I like to end up with very saturated colours as it works well with generally heightened expressiveness.
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