I received the troglodyte from Spira Mirabilis a few weeks ago and, unlike usual, got to work on it as soon as possible. I had an idea for what to do with him as soon as I spotted him back in early June and had to wait until he arrived to bring the conception to life.
I wanted to evoke real Paleolithic art with my use of pigments (predominantly black, white, and red ochre) while at the same time having some fun with the bioluminescent mushrooms and funny expression.
Well, my loyal followers know I’ve been a wicked boy and haven’t published many minis since this Spring. I’ve actually been painting up a storm, but I’ve been too engaged with other things to document my productivity. Rather than put out a large number of small posts, I figure I’ll make a single post to share all the models I’ve finished since April.
I’ve passed a crucial threshold with Cormac, bringing in the vibrant Autumn leaves to set the tone for the whole miniature. Hopefully now it is clear that Cormac himself represents the season and its fleeting beauty.
I find that my minis tend to evoke for me the circumstances of their creation, the time, goings on, and attendant emotions. I knew this year I wanted to capture the striking, fiery colors of the Fall foliage in western Pennsylvania (USA for those not familiar with American geography), playing into my sentimentality by making a kind of visual record of this special time of year.
I have more progress to share with you on Cormac. I’ve been able to paint nearly every day recently, often for nice stretches, and I’ve built up good momentum as I’ve worked through most of the major areas on the mini. Still a lot of work remains, though, as the details will require care to do justice to the sculpt and my vision for it.
Textures have always been an important part of the way I paint, and I hope I’m achieving finer and more interesting material effects now than ever before. Certainly as I strive to fulfill the artistic course I’m charting, I want to incorporate the continued and conspicuous use of textures in my work.
It’s been sheer joy painting Lucas Pina’s Cormac bust (Black Crow). Every pose and gesture is super expressive, and the face shines with humanity. It’s my first time painting one of Lucas’s sculpts, but it will definitely not be my last.
I’m daydreaming of painting Cormac when I’m at work, eager to explore his character and effects. I have a clear plan of how I’ll handle the various textures, but the spirit of discovery will guide my brush.