Taking On The Sorceress

“Taking On The Sorceress”, 42x35cm (600dpi), Painter, 2015

I couldn’t  resist creating another one. This time a more complex pre-Raphaelite inspired composition with an injection of some Brutalism and previously mentioned contemporary matters within the content of the painting. Perhaps this scene is a low level dispute between nearby neighbours or the product of wider social division erupting? The good life is back! The main character (to the left) is loosely based upon the sorceress/witch in this painting by Waterhouse that I have developed from a previous painting.

I wanted to explore the creation and interaction of multiple characters within a single setting, whilst expanding the world within which they live by adding the vista. I have added Victorian flower symbolism to enhance the narrative – in this instance yellow and orange lilies, a poppy, rose petals, forget-me-nots and monkshood, on and around the characters. Something for you to look up. Details of the painting can be found at my online portfolio.

The painting began with this digital sketch (below) . I expanded the image and narrative from that.

 

Character sketch, Painter, 2015

Character sketch, Painter, 2015

In addition, I created a separate asset that I inserted in to the background inspired by a recent election declaration.

'The Good Life Is Back', Painter, 2015

‘The Good Life Is Back’, Painter, 2015

Boudica’s Tea, Interrupted

“Boudica’s Tea, Interrupted”, 42x43m (600dpi), Photoshop/Painter, 2015

If Wikipedia is to be believed Boudica, Queen of the Iceni, may have fought her last battle not far from my current studio location. The possible location for this final confrontation with the Romans occurred south west of a village called Ashwell in Hertfordshire at a place known as Arbury Banks.

This snippet of information had me interested in creating a somewhat updated interpretation of this very British icon mixing the modern with the long past – and featuring key ingredients of rebellion and tea.

The painting was started from a pencil sketch, with the bulk of the under painting carried out in Photoshop and then finished in Painter.

 

Dystopian Vision Free Ebook

Cover of ‘A Dystopian Vision Artwork Book’, 2015

Last year, I was part of the public programme of the ‘Vision Of Utopia’ exhibition in Letchworth Garden City. I have recently produced a short eBook showing the artworks created in Photoshop with shots of the original locations and thumbnails of the layering used to create the video installation ‘Letchworth: A Dystopian Vision’ – which is still available to view here.

The free eBook is available to view at this link on issuu.com: http://issuu.com/johnvincent1/docs/dystopian_book

 

An Unusual Protest

"An Unusual Protest", 34x40cm (600dpi), Painter, 2015

“An Unusual Protest”, 34x40cm (600dpi), Painter, 2015

Probably the last in this series of pre-Raphaelite inspired digital paintings before a return to more contemporary matters. Having said that, the subject of the painting does refer to a conundrum present today.  The collision of past and present (in terms of belief and practice) is presented here as the witch/sorceress (borrowed from ‘The Magic Circle’ by John William Waterhouse) starts a fire to prepare her concoctions in front of the late night pharmacy which contains its own.

There is not a definitive winner in this contest – whilst the pharmacy may contain indisputable modern cures (antibiotics for example) and relief for pain, it also contains products that work within the current cultural climate. A certain appearance is required (via cosmetic products),  the cure for shame and social stigma (perfumes and deodorants to disguise body odour as an example) and how profitable this can be.

Better make that protective circle!

I have included the original sketch for the composition which underwent a number of changes during painting.

The optimum print size for this is 34x40cm, smaller prints can be made available.

Study for "An Unusual Defiance", Pencil drawing, 2015

Study for “An Unusual Protest”, Pencil drawing, 2015

Joyride

“Joyride”, 39×30.7cm (600dpi), Painter, 2015

Partly inspired by The Lady Of Shalott and partly by the intervention of another artist (possibly Banksy? I am not sure)  in the alterations to the painting of ‘Ophelia’ is ‘Joyride,’ my latest in a series of pre-Raphaelite inspired digital paintings.

I have made an attempt to combine the essence of the two mentioned works, placing The Lady in to a more contemporary and austere English setting – just before the lights go out and, ‘half sick of shadows,’ she is possessed by some unusual urge to ride down the hill to the water in a shopping trolley ‘Full royally apparelled.’

“Joyride”, 39x30.7cm (600dpi), Painter, 2015 (DETAIL)

“Joyride”, 39×30.7cm (600dpi), Painter, 2015 (DETAIL)

 

 

 

Ophelia Returns and April’s Tweet

“Ophelia Returns”, 45x32cm (600dpi), Painter, 2015

I have been working on a couple of new images for my pre-Raphaelite inspired series of digital paintings. The first image is another take on the moments after ‘Ophelia’ explored in my previous work ‘Ophelia, Pulled From The Water’. In this new version, ‘Ophelia Returns’ – she has recovered her senses just in time to pull herself back from the brink.

I was interested in experimenting with building the figure and its interaction with water, and developing digital techniques to recreate something of the traditional painting process (i.e. one canvas layer). At most I have used 3 layers to add and try out corrections but finishing on one layer gives the image a better finish.

"April's Tweet", 42x32cm (600dpi), Painter, 2015

“April’s Tweet”, 42x32cm (600dpi), Painter, 2015

The second image is partly inspired by another painting called ‘April Love’ .

I have utilised the basic idea of the clothing and location from ‘April Love’. The scene has technology added, but this time in a more modest and familiar capacity.

I was interested in re-using the ivy symbolism from ‘April Love’ to signify the everlasting life of information submitted via social media to the internet (the single transmission symbolised by the single leaf) and the potential for information to be stored, reproduced and shared endlessly within a digital world in contrast to a simpler time – a kind of innocence lost.

At my online portfolio you can find details of and original drawings for both paintings. The sizes given are the optimum print sizes at 600dpi.

 

She Passed The Turing Test

“She Passed The Turing Test”, 42x32cm (600dpi), Painter, 2015

Continuing the series, here is another pre-Raphaelite inspired digital painting – this time with a dose of science fiction and a touch of surrealism.  The figure and part of the composition is inspired by this painting by Millais (though not on the story).  I have constructed the woman in a similar pose. Below is the pencil sketch from which the painting was started.

turingtest_sketch

Ophelia, Pulled From The Water

"Ophelia, Pulled From The Water", Painter, 2015

“Ophelia, Pulled From The Water”, Painter, 43x19cm (600dpi), 2015

A dark offering for Friday the 13th – I was planning to return to oil painting when suddenly the digital painting fell into place. This painting is a continuation of the pre-Raphaelite inspired theme of recent work but unlike the previous two, this directly relates to a single painting from that era,  ‘Ophelia’ by Sir John Everett Millais.

In some of my earlier work I explored scenes just beyond the point of time at which the original was set and imagined turning the clock forward a few minutes or hours from that moment.  The original is a depiction of madness and eventual suicide by drowning envisaged by the artist from the description in Shakespeare’s Hamlet. My work is an attempt to puncture the romantic nature of the original for what is essentially a desperate and horrific end.

The painting has been an opportunity to explore the current theme within an unusual composition, develop some previous concepts and demonstrate some of the advances in my technical abilities relating to the construction of a figure.

This digital painting has an optimum print size of 43x19cm (at 600dpi).

Jealousy

"Jealousy", Corel Painter, 2015

“Jealousy”, Corel Painter, 2015

A new digital painting partly inspired by the look of pre-Raphaelite painting turned in to a dark thriller. Below are the original sketches for the main part of the painting and for the painting at the back of the room. A lot of modification occurred during the painting process, utilising the layering abilities of Painter to add new features.  Entirely constructed, some of the positioning, such as the mirror, may not be exactly correct in real life but are fine for the composition of the painting.

jealousy_sketch004

jealousy_vanitas001