Close

Green-Blooded Hobgoblin

Do you know how amazing it is to have my painting mojo back? And in time for my first week off from my day job! I never take time off outside of Christmas (which, let’s face it, is all about obligations) and family holidays (more work). This week, my spawn are in school, I have someone else playing the role of me at work and I am free to update my art site and paint my brains out.

How fucking awesome is that?

And the more important question: why haven’t I done that before?!! OMG!

So I’m getting ready for Toronto ComicCon and implementing new things on my site. For one, I’ve got videos now! While I personally prefer reading articles, I know that a lot of people lean towards video. So I’ve recorded a bunch as I painted. Slightly sweary. None too long. And I’ve found that I cover things I never think about when I’m sitting at my desk writing, so it’s a win-win!

This week, I’m painting a series within a series. Starting with Spock from the 2009 Star Trek reboot and moving through all or most of the characters.

Spock has always held a special place in my heart. The outsider. Trapped in a world he was navigating awkwardly. Who the fuck can’t relate to that?

I wanted to honour Leonard Nimoy’s legacy before moving on, so I painted Nimoy’s Spock first. You can read about it here.

sm_20160222_201059

Love them or hate them, the reboots have elicited powerful responses in Trekkers. I personally think it was about time that Trek got chucked into the present, with its heart and soul intact but modern. There are lasting consequences to actions. People feel more alive. The colours just fucking kill me. And the lens flares are so hot.

sm_20160222_203213-1

With the way I paint, the whole look and feel is so intoxicating to me. And I really wanted to do it justice.

In classic Trek, TOS, we often see Spock at the science station on the bridge, looking over his shoulder to give Kirk information or read outs. It’s a very classic stance and something I was thrilled to see in the reboot. The attention to detail is stunning.

sm_20160222_204230-1

I chose to go with that and start with a variation of how I prefer to paint–in layers with sharp colours. But I knew I didn’t want to stay in that style. It wouldn’t do the design of the film any justice at all.

sm_20160222_210902-1

This point above is the last point where I stuck with flat colours. I wanted to lay in the sharp and strong tones and then do SOMETHING.

This is me when I paint. A lot of decisions are made before I ever set foot in my studio but a lot aren’t. I like to paint organically to a large degree, so that means leaving some things to being decided in the now. It adds spontaneity to the work and keeps me sharp and interested.

sm_20160222_212319-1

Working with layers, I actually was thinking about one of my earliest Sherlock paintings. The way I blended colours and just jumped off the deep end with my choices. I realise I haven’t written a full post about the Sherlock painting. I was still finding my painter’s voice then, but it was an incredibly important piece and changed how I painted everything since.

Colour moves me like no other. Painting this series is exhilarating. And there’s so many more to paint! Yay!

sm_20160222_215901-1

 

“Green-Blooded Hobgoblin”

24″ x 12″

Acrylic on canvas

The original and prints are for sale.

Want to know what I’m listening to right now? I started out with the reboot’s soundtrack because, let’s face it, it’s fucking awesome. But now? Now I’m listening to new things. Check it out!