Wednesday, September 15, 2010


Hey, I'm not only into dark things but this is my kind of creepy.  This is a 1980's painting called (drum roll) "Lucifer", by Franz von Stuck.

Sunday, September 12, 2010


The brainchild of Frank Altomari(crudedoodle), "Pumpkid" was a fun collaborative project that let me put that sculpture elective to good use.

Forged from a coat hanger, Super Sculpey, and a lot of love, this little pumpkid was fun to make.

He was so cute we just wanted to bake him in the oven. So we did (Sculpey needs oven time to harden).

All he needed was some priming and some drying time and then he was ready for painting.

The next step was to give him his eyes. These were tiny balls of Sculpey that we detailed. We dripped some clear enamel onto them to give them a wet look.

The final step was to coat his pumpkin head with satin finish varnish for that healthy-pumpkin look.

And the final little man:

Halloween's Coming!

I'm so excited to finally be starting my own blog. I've always agonized over what I would write about. Recently, I've come to the realization that I can just talk about whatever the hell I like.  I'll mostly discuss my illustration process and try to explain, step by step, what I'm doing and why. 

So, I'm excited that my first post is Halloween related.  There are so many things to be inspired by, this time of year.  Halloween is one of the few occasions people get to escape reality and be creative. 

Anyway, this is the oil sketch for my entry for a Halloween show (Ill post the details about the show soon). I chose to Illustrate part of the story of how the prankster "Jack" became a Jack O' Lantern.

I first primed the canvas with white gesso.  I prefer to water down the acrylic gesso until its just about the consistency of heavy cream.  Three coats over the canvas or illustration board usually does the trick. Let it dry overnight, or until it no longer feels cool to the touch. 
Priming the canvas insures that the oils don't get absorbed into the fibers of the canvas, and helps the paint to move more easily on the surface. 

For my oil sketches, I usually use burnt umber watered down (a lot) with turpenoid.  Any earth tone will do. They usually dry much faster than the others and provide a warm/ neutral under painting, which I like.

I just grab a brush and sketch just as I would if I were drawing.  Don't worry about being too neat yet because you will generally try to cover it all up with paint anyway.  Just concentrate on your composition and proportions...depending on your style, you may need to do a more involved under painting.