Progress shots and final for an interior architectural illustration, 2-point perspective. Graphite pencils. So far: 2B, F, HB, B2.

My review on the indie game, Ruins, developed and published by Cardboard Computer, has been published on Indie Game Reviewer. Click here to read! “Ruins is an enjoyable experiential title that, through its minimalism and focus, expresses the joy of having conversations. Dialog choices do no more and no less but to find out more about yourself and your companion, and how it relates to this strange landscape.” I gave it 4/5 stars.

My review on the indie game, Keys of a Gamespace, developed by Sébastien Genvo and the University of Metz team, has been published on Indie Game Reviewer. Click here to read! “For a game that presents itself as self-aware and expressive, I stepped into the game with high expectations of restrained storytelling and self-reflexive emotional scenarios. Unfortunately, the game appears to tell, more than show.” I gave this title 2/5 stars.

My review on the indie game, Gemini Rue, developed by Josh Nuernberger and published by Wadjet Eye Games, has been published on Indie Game Reviewer. Click here to read! “Just as characters have histories in these narrative-driven games, so too do the objects, the streets, the organizations, and so on. Everything can be seen through somebody else’s eyes.” I have given this game 4.5/5 stars.

Prismacolour pencils illustration on grey Stonehenge paper, sized 16″x24″.

It’s supposed to mean something when I have a eureka moment, yet will I remember it as part of my identity in the tomorrows to come? This illustration “talks” about some of the key ideas that have cumulated at the forefront of one of my best years in university – where all of my four courses felt like they matter. My posture asks, with all of these wondrous thoughts of the world, where do we go from here?

Lizard illustration using a whole range of graphite pencils on a 16×24″ drawing paper. Drawn from photograph taken at the zoo.


An illustration from a skeleton in life drawing class. I’ll leave it up to you to pursue the irony.

Chalk pastel, Bristol board (we were being thrifty. I’m not sure why).

 

 

The wildebeest series. Multimedia, digital and traditional, onto sketchbook, 9×12″. I was driven to use the wildebeest as my muse by the strength of this animal, but also the bewildering and almost relentless regularity of its seasonal migrations. If there was something that said ‘herd mentality’, it was the wildebeest – but just as much, its characteristic shapes give it a gaunt look, as though it, unlike other creatures, would be most willing to fight against it.

I think I was a bit crazy as a little kid. I designed this city structure, level by level, complete with functions for the Amazonian society in each tower and area – barracks, horses, markets, and food courts (apparently). Then I used the rotary saw for the first time in my life.


In the summer of my grade 8, I made sure that if anyone was going to be stuffed in a locker, they would at least get stuffed inside a pretty box. Ergo, fantasy locker murals! Both took altogether 80 to 90 hours to complete painting. Inexpensive acrylic wall paints don’t give the brightest shades and layered blending at times, but it is fairly durable. The fantastical tunnel in ruins was especially fun to paint, though the chromatic dragon was much quicker to complete.

Dragon was sourced from Julie Bell’s fantastic fantasy paintings, which I’m ever an adroit fan of. I’m afraid I don’t remember the artist for the tunnel painting. Didn’t get paid for this because I was in grade 8, and the school puts so little in creative arts besides.


 

 

Dreams of small, sublime (sometimes frightful) things. First illustration in ink; Second in graphite pencils.

Here is a series of figurative drawings in varying styles and mediums.

First two were done with conte and pastels respectively, from live model, in 2006.

This one below was completed less than two weeks ago. It was drawn on capriciously beautiful textile recycled paper, which made the whole process very unforgiving, because any erasing would cause damage to the fibres. It also prevented me from layering as much as I tend to like to do, enabling me to only “mix” two colours much of the time. Thus, I chose bright tones that are close to the primary colours to generate flow and pop in the illustration.

The last two are hand drawings, using graphite and ink respectively.