recently! (summer ’18)

working on assemblage for the October show

working on assemblage for the October show

pin and book set in the shop section of the site!

pin and book set in the shop section of the site!

an anniversary party on July sixth!

an anniversary party on July sixth!

a cover-up for Josie <3

a cover-up for Josie <3

two trips to the post office

two trips to the post office

self portrait

self portrait

flowers.

flowers.

GOING LIVE

I’ll be live painting at the Kendall Yards night market tonight at five!

there’ll be a Livestream going on my Facebook for anyone out of town.

live painting Spokane

 

 

Contest, tarot deck project, tattoos, and skull mount projects.

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the “coordination” series is listed in the store here and also as prints in redbubble.

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my patreon project is a tarot deck! go check it out and jump on board- you’ll have to be a patron to order the final deck.

https://www.patreon.com/resonanteye/posts

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IMG_20180511_003954edition three, uncensored, of the Horrors is now available!!!  HERE

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I’m running a cover-up contest on my Facebook and Instagram.

http://Facebook.com/resonanteye

http://Instagram.com/resonanteye

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interview in Pain magazine! thanks guys!

new skull mounts and taxidermy/nature assemblages in progress.

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here’s some newer works:

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things I’d like to do this year.

looking through the year’s work so far. for next year’s portfolio, I’d love to have:

a full sleeve of mums with soft background
at least one non-pine forest landscape
an angery shrew holding red nightshade berries
one completed abstract backpiece
rough lettering galore, like loose marker or ink
a witch with cauldron
at least one really grody, wicked harpy.

if these ideas appeal to you, get on it. I usually put together the year’s portfolio in February- I’d want to start the bigger pieces now. and finish them by then.  share with any interested parties, or hit https://resonanteye.net/gettattooed/ to sign on.

 

also, some drawings I want to do as tattoos. these are ready to go when you are!

 

The truth about fan art.

Now, I’ll admit  that I’m a fan of things. I enjoy things. I have problematic favorites just like anyone else. wanted to get that out of the way before I proceed.

case in point.

case in point.

 

now, about fan art. I’ll do it. I’ll do a caricature tattoo (more painterly- I don’t do photorealism) of any thing you like- especially if I like it too. however, I don’t want to copy a still frame of a film, a production photo or an exact image of a character someone else owns the rights to. it seems like bad karma somehow. those folks worked long and hard and they need to get paid for that, they own the character, the art, the film itself.

 

so my solution has always been to find a reference, a pertinent moment, and refine it into an idea that references the original without interfering in the ownership of the image. I’ve fallen down on this, all tattoo artists have. a tattoo is personal use, you see, so as long as I’m not using it to promote or create follow-up products, I’m on the ok side of things.

 

I prefer the subtle approach. for example, right now I’m obsessed with Westworld. I’ve got sketches of every damn character, based on extensive research into the actors, not based on any one moment in the series. they’re loose, painted. I’m ready to tattoo these. once. one person gets them. I may post them and tag we online (they are open to fan art) but I’m not interested in exact reproductions. I want to capture a moment or meaning, not a face.

 

all the things there were mechanical until the "upgrade" to cheaper materials like meat and bones. they were beautiful, now they're just like us. including the horses, the bison. so there it is.

all the things there were mechanical until the “upgrade” to cheaper materials like meat and bones. they were beautiful, now they’re just like us. including the horses, the bison. so there it is.

 

they can't ride that train anywhere. it's a goddamn loop around the park areas. it's headed nowhere. they can't escape. who laid those tracks? there it is.

they can’t ride that train anywhere. it’s a goddamn loop around the park areas. it’s headed nowhere. they can’t escape. who laid those tracks? there it is.

 

I’ve been obsessed with other things over the years, of course. mostly horror and sci Fi. I’d rather do something that contains the meaning of a scene, rough and raw and laid in strong, than copy and break a law or even piss someone off. there’s a lot of celebrity images in the public domain, I tend to rely heavily on mugshots, government images, and my paid Getty images access for these. I’ll use these and some of the character’s words or token totem items to make the piece. crossovers are fun, too, if I’m a fan of the actor.

 

looking at you, Walken.

looking at you, Walken.

 

looking directly at you, goldblum.

looking directly at you, goldblum.

 

 

I’ll do some things. I have dodgy soft spots. if I’m geeking on the same thing as you, I am a marshmallow and I’ll do it. I feel bad afterwards, but I love some things too much to say no outright. and I usually only do this if the creator has died.

 

Ernst Haeckel, public domain actually.

Ernst Haeckel, public domain actually.

 

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I really want to change the things to make then more my style, more to your fit, more important. I want to bring out the abstract qualities the original creator didn’t do- I want the meaning, the pith. if you’re a fan of a thing I’m a fan of, expect our consultation to be a geek fest about our fan theories and conceptual framework, finding symbols to use without infringing on copyright. that’s my goal every time.

 

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they never kiss.

from the literary description of It.

from the literary description of It.

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painting of a little sister.

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I wanted a real turtle.

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I’ll go abstract as fuck to capture the most powerful Disney villains.

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had to add sex appeal, sadness, and painterly feeling.

if, like me, you find important moments in media, like books, movies, shows… come talk to me. I like a lot of stuff, mostly horror/sci Fi and a little weird standard fiction. I’ve got a list of things I’d love to do, on standby. if our interests match, we’re going to end up with magic.

 

I was more lax about copyright in the old times of my career. after all, I need the word of mouth, the internet brings me about half my clients, and known franchises and characters will consistently outpace original works. people like the familiar and you’ll see a crap copy of a screenshot from a movie with 19,900 likes and hearts and comments, while thoughtful original content gets ignored. it’s really difficult to deal with as a creator. I’ve chased that little bump before. Won’t do it again. anything related to a media franchise from now on is all OC based on the universe in which the characters are set, all characters drawn from copyright free sources.

 

I’m an artist and I know artists need to get paid. while I need the exposure copying and making fan art gives me, and I enjoy it with my particular interests, we’ve got to find ways to change things- to use elements that are meaningful in that universe, without simply tracing a damn thing.

 

currently I’m interested in Westworld, the Wire, better call Saul, Ursula k Leguin sf (not fantasy though), everything from Stephen King, Octavia Butler, any horror movie you can think of, and of course, any celebrity who’s a little off their rocker. I’d like to do an Idris Elba, Antony Hopkins, Charlize Theron, Gary Bussey, Grace Jones, any woman in a good strong character actually from any era. I’d like to paint character actors. I’d like to tattoo a lot more characters from fiction instead of movies. true crime! but then also, I’m a horror movie creep so I’d like that too. inglorious basterds! hey just try me. if I’m not a geek for it, I’ll know someone who is.

don hertzfeldt tattoo

OH GAWD HELP ME MY ANUS IS BLEEDIINNNN-

just no direct copies. I’m not made for photorealism, my work is rugged and strange and won’t work that way. you can contact me if you’re interested by email, or with the link here: resonanteye.net/gettattooed.

I’ve been focusing more on skin and less on paper, so these images start out loose, they get refined on the skin. it’s about your interest in a thing matching mine, and your trust in the process. but I’m gritting my teeth waiting for more of this in the schedule, so please, bring it my way.

 

please. my inner nerd is underfed.

 

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outline of center areas done elsewhere, repaired and added the rest. xox John Waters

ka is a wheel. piece still in progress.

ka is a wheel. piece still in progress.

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bring these to me. please. I’m in the mood.

start rough, then refine

working with landscape in tattooing, getting a natural look to a landscape

 

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also some extra things that have happened recently

 

 

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this past week’s painting, process shots, and sadness

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I’ve been painting every day since I last posted. Here is my current favorite brush and some rags, in front of the cloud section of a painting I’m working on. No matter where you are, there’s always a storm on the way.

The day after xmas my elderly lady dog died. She had been sick, off and on, with laryngeal paralysis all year. She was 16. She died in her sleep after a long day of rough times breathing- We’d had the vet coming in the morning, but she was gone when we woke up. She was one of the best, sweetest dogs I’ve ever known, and I miss her. I’ve gotten a lot of condolences, so thank you guys, it did really help.

I went back to painting the day after that. These are the things I’ve been working on all week. (For solstice, I got an espresso maker, stretcher bars, and some brushes…it was a lovely holiday despite the sad time right after.) I also got a popcorn maker. I have been living on lattes and popcorn now for a week, by the way. It’s just fine.

 

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Here are the initial stage of the piece I’m currently working on. I’ll probably finish this one today. It’s an area near Ona Beach in Oregon, where a creek washes out to the surf, causing a little rift and depression in the sand. I made sketches of this just after sundown. The sky was far too crazy red for my taste in the beginning, but I think it’s better now. I kept messing with the clouds, scraping them off and trying again. I think  that it’s all right now.

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The next thing I want to show you is a painting that was really hard for me to finish. I liked the rocks, the low point of view, with the ocean at my back. Just damp puddles in the sand that had been churned up by people walking around. This was near Heceta Head. There were SO many people there that day, all my sketches say “too many people” in the margins. I also took a photo that day, for reference, because there were birds. Flocks of odd birds and the way they were flying around the people was what I really wanted to paint.  So here you see the beginning sketch in paint, then the landscape alone. Then…
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Then I used my reference to scrape out areas for the birds. As soon as I started painting them I was unhappy. They were difficult. I didn’t like birds any more. But I’d already committed, mentally, to having them there. I cursed the birds, I fought the birds, I finished the birds and they look all right, for little salty bastards that just happened to fly into the painting. You can see the finished image here, or buy prints. The original for this is spoken for.

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When the birds were done I did this small, quick study of a logging road on Rte 34 near Alsea. I had sketched this site from every angle many times, and it’s one of my favorite subjects. Always finding new little things to emphasize or change about it. The mood there was always damp, diffuse, misty. I started then finished this one in a great mood.

The original is for sale, as well as prints which you can find at this link.
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Then, going through my sketch pad, I realized that on my last visit to Phoenix I had done some sketching at roadside. I love roads, highways or side roads, I really enjoy drawing them and painting them. This was in Northern AZ. I stopped to mess with my GPS, pulled off onto a frontage road, and realized that the sky ahead was very ominous. VERY ominous. If you have seen this blog entry you know what happened about an hour after I made the sketches for this painting. I think I decided to stay a bit and draw just to avoid driving into this maelstrom.

I did still of course have to drive through it. I liked the way the road ended in a little hummock though, in this sketch- the road of course continued over that hill on along the way but it looked like the end of the road, like that would just be the end of the trip. I did another recent painting from another sketch I made that day, facing south. That one is here. This one was drawn facing north along the frontage, away from the storm. The light was very weird. It was near sundown but not quite.
On the left you can see it’s mostly turpentine and a little scrubbing with an old brush to start with. Then I went at it with very thick paint to finish. This one has been scanned now, and the varnish is drying. The original is for sale and prints are at this link.
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RIP Hildie, you were a good girl.

taking the day or three off for solstice, getting brushes and stuff ready for being idle

if I’m working every day, all I do is wipe down my brushes with regular turpentine and maybe plain veg oil at the end of the night and forget about it. If you’re using oil brushes every day, they don’t have a chance to dry out.

Since I’m taking a few days off for Solstice, I need to actually clean my brushes!

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there are good and fancy soaps for this. I just use oil-breaker dish detergent. this is a generic brand, but blue dawn works pretty well.

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again, there’s fancy and better suited soaps for this, but I use the cheapest bar soap for ‘oily skin’. I use the dish soap to get most paint and solvent off, then use this to really scrub all the way up to the base where the bristles attach. then I rinse it all out.

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I scrub pretty well. I don’t do this often so I try to get way up into it.

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I really dry the water out, squeeze em in a paper towel. I want them dry now.

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plain,cheap vegetable oil. I dip them into it.

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Then I wipe almost all of it off the brush. I leave them just greasy enough to hold their shape. If you use natural bristles you can use conditioner for this (like you’d use on your hair) but if you’re broke or cheap, this works fine.

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before I paint again I’ll use turp to wipe all that oil out of the brushes so it doesn’t end up in the painting. here’s all my stuff tucked in neatly out of the way.

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little bonus , thumbnails of things I’m planning to work on soon.

materials post two, and a finished seascape in oils (or two)

Some of the materials I use are weird. Other are pretty common. I use odorless turpentine. The cheap stuff. I use old paints because I was given a huge box of many tubes of the basic colors in oil when a friend’s aunt died (she had been a painter of still lifes) so my paint choices are the odd thing.

I use a lot of yellow ochre, real madder. Payne’s grey, Naples yellow, prussian blue and lead white. I have some french ultramarine and viridian in there, but I use them less often. I have raw umber, burnt sienna, cad red, vermilion, and lamp and ivory black too.

I don’t have any burnt umber except for in miscible oils- I have a handful of those, burnt sienna, cadmium yellow, burnt umber, ultramarine, titanium white and lamp black. Not too many tubes of that stuff. I got those to do my giant animal painting project and I’m not sure what else I’ll use them for. I like the oily oils a little better, but these mix in just the same.

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Water-miscible oils- I have there some brushes (oil brushes), a cup of water, some liquin, and the paints. I started out using water and paint for the underpainting, which dried pretty fast, overnight. Then started in with paint and liquin, then on to fat paint on its own.

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Here’s another painting in the miscible oils. All I had out was the brushes, palette, liquin, and water cup. Almost as simple as working in watercolor.

I like really soft fat brushes. I only have maybe one or two hog bristle brushes even though I know most oil painters like them. I have one big one and one little one for oils. The rest of my brushes are synthetic, pretty much- mostly filberts and a few chisels. I have a big flat short-bristle brush I use to blend, it’s squirrel instead of sable but it’s soft enough to work well. I do have maybe two small sable brushes and a super silky rigger brush.

I’m sure if I was trained and taught by someone academic I’d know more about all this and make different choices.

I don’t have a lot of money for brushes so that’s about it for that. I try to take care of them but I am extremely bad at maintenance and remembering to clean them- I usually soak them up in turp and clean them every day when I’m done, and if I won’t paint for a day or more I wash them out as well as I can with detergent soap. Sometimes I forget and there’s a casualty. I get a new brush once or twice a year. I used to paint in oils almost only, but for a few years now I’ve worked in watercolor too so I switch back and forth every few months. (I rarely, if ever, use acrylics for anything)

Right now I have liquin and some old old copal as mediums. Liquin is good, it dries fast enough that I can work over an area within a few days, or the next day if I get aggressive with it (like in an underpainting) and the copal I think looks good as a top surface or glaze. I really wish I had more glazes and varnishes though, I’d love to try a few new things for that. I have had stand oil, and used it, I think I have a tiny bit left. It takes a while to dry out completely but it looks really cool and glossy if I’m doing a painting without much texture.

12391419_10153347790822712_110052715696411257_nOnce I have that first layer in I let things dry a little. Then I use more pigment, less media (turp or liquin) and lay in color. This bigger seascape, you’re seeing layer two. Basic color areas.

Here you can see the kinds of brushes I’m using on the bigger painting. One is a large, super super soft brush that I’m using to soften up all of the stuff I don’t want emphasized. I really only want the center area where the one wave breaks to be important, so I go through and soften the other areas once they are a little bit tacky. You can see I’ve added a lot of detail areas above that second wave there, little bits of grey and of the cad red that’s in the sky.

IMG_20151213_054346Here is the little seascape that I made as a warmup, it’s done I think. I even signed it.

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I have had insomnia for about a week so most of my work has been happening at night. After a while my sleep schedule will head back on around the clock though, I’m sure.

I will probably do a materials list for watercolor or pen and ink wash stuff next monday. xox

 

Here is the finished foggy dawn Lincoln City landscape (click image for bigger image and prints)

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I’m putting this one in a silvered wooden frame.

 

And here is the finished larger painting of the cliff south of yachats, in a nice antique oiled wood frame. I’ll scan it for prints when it is completely dry and right before I varnish it. I don’t know when the originals will be for sale, as I need to amass a handful for a gallery show this year.

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process photos, owl and quince.

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