Looking for some creepy or spooky art? Then you have come to the right place. Grimvisions creates some very unique one of a kind, hand made, original sculptures and figures. If you have any questions or if you are looking for something specific contact me. Or check out my shop for what I have available.

For Sale

In progress photos and why they help

My previous post about Mr. Woe started me thinking about why I do this. I take tons of in progress photographs of my pieces as I make them, primarily for my own reference. I have somewhere around 8000 photo’s of my art pieces some of them are final pics most of them are in progress pics of the pieces in various stages of completion.

Frank: I had never sculpted a full bust sculpt before, I really had no idea how to do it. So in this case I wanted to take a lot of pictures to keep on hand so if I was successful I could look back and know how I did it. If it was unsuccessful I could look back and see what went wrong. I also take pictures of each stage of the painting process as well. Frank had lots of additional parts on him so I had to mask a lot of them as I painted him as you can see in the second picture.

Frank Bust Armature SculptFrank Skin Shadows

Basic plain sculpt to paint up Mummy:

Peruvian Mummy Blank SculptPeruvian Mummy full paint up

Witch: You can see here that her nose in the first picture looks very large, this is because Cellulay (the lumpy stuff) has a large percentage of water thus it shrinks a lot. It will be smaller once it dries. Once it dries I top coat it with Paperclay which is the smooth topcoat. Working with airdry products there is a bit of “you dont know what you are going to get” initially. But after working with it for a few years that has gone away. Her eyes aren finished in the second pic.

Witch Pre smoothWitch Fully painted

Grimferatu: A commissioned piece that I did a few years ago, The customer wanted my version of Nosferatu, This is what I made. One of my favorite pieces. This is him prior to adding ears, eyelids and teeth. I hate making ears. His teeth have always irritated me. Pictures are very important especially when you sell a piece, Initially I made all my pieces just for me. When selling a piece photos are all you have to reference once its gone.

Grimferatu before elongatingGrimferatu Pre eyelids and paintGrimferatu Done

Online Art Critique: Taking Criticism

In the first part of this series (Online Art Critique: Giving Criticism), we looked at how to provide respectful, honest criticism when someone offers up a work of art for review. We also discussed ways to give constructive criticism and avoid unhelpful comments that could be misinterpreted by the artist. Now, we want to dive into the process of taking criticism. How do you seek help for those artistic roadblocks?

No One is Above Criticism

I have seen artists post work for critique that honestly believe there’s nothing wrong with what they’ve done. Their work is infallible and they fully expect other artists to recognize the inherent greatness of what’s being shared. The reason the art is posted is to simply inflate the ego of the creator and collect what are frequently referred to as “ass pats” – those “Wow, amazing, great job!” comments that don’t really convey any deep emotional connection with the work. The result of this behavior is never pleasant, especially after the first glaring fault in the composition, color theory, anatomy, etc. is pointed out. It’s always downhill from there.

If you understand that a work of art is never finished, only abandoned, then you’ll see that there’s always room for improvement. Some pieces could be pushed further than where an artist left off. Some may be pushed too far and could benefit from editing in composition or technique. If one work seems to miss the mark, take the comments you’ve received and apply them to your future projects.

Be thankful if you receive honest criticism. Many artists don’t receive the helpful comments and serious feedback that would help them become stronger creators. Don’t run and hide from criticism.

Separate Yourself From Your Art

Exposing yourself to criticism is never easy, even when you know you need help. Remind yourself that critiques aren’t about attacking you, the artist. They’re about helping you grow by pointing out ways your art is on track for success and ways it could use improvement. No matter how much blood and sweat you pour into a piece – no matter how much it might represent you as an individual – you need to separate comments about your art from comments about you.

Ask For What You Want

Too often artists will post work that they want reviewed, but don’t explain what problems they’re encountering or where they feel lost. If you don’t ask for help on specific areas, you can’t be surprised if you receive all sorts of comments – especially those comments that don’t have anything to do with where you really need assistance. Explain what you’re trying to do and ask those that volunteer to critique your work to recommend solutions for particular areas.

You’ll still receive a few off-task comments now and then, but you’ll find the majority of the responses are focused on the answers you’re looking for.

Bad Response: Let It Go

Some forums have trolls that delight in waiting for an artist to post work for the sole purpose of attacking the art. Some forums have members that just can’t seem to wrap their heads around communication techniques and leave replies that come off as heavy-handed comments or blatant attacks. Here’s a rule you should try to follow: You don’t have to respond to every reply.

If someone leaves you a bad critique, thank the member for the response and leave it at that. It’s better to stomp around or punch invisible ninjas in your studio for an hour or two than ignite a heated discussion or respond with an attack of your own. Not only is such behavior unprofessional, it is often the response many trolls are looking to elicit. It’s best to err on the side of being the bigger person than risk damaging your credibility with an off-the-cuff remark or heated exchange.

Recognize Good Critics

Every art space has a collection of respectful, level-headed members that want to help their community grow and promote creative development. Some are professionals working in the industry. Others are up-and-coming talents or hobbyists who enjoy creating in their freetime. Make a point to thank these members when they respond to your work. Let them know that you value their input and appreciate the time they’re taking away from their own projects to help you develop yours.

These are just a few recommendations to help you on your path as an artist. You’ve probably discovered many on your own and will discover even more as you continue to expose your work to different art communities. Good luck and keep creating.

King Unicorn is a guest blogger here at Grimvisions. You can see more of his work at http://kingunicorn.blogspot.com/

When painting sometimes its best to step back

I dont know if other artists suffer from this but I do.

When painting a sculpt, I paint in multiple layers. I paint the primer coat on the piece, a base skin tone, various noodled skin tones, veining, so on and so forth. Building up layer upon layer to get a (hopefully) realistic skin tone. After that is done I will usually finish the final layer or 2 by hand with a brush. The initial skin tone layers are all done with an airbrush. They dry relatively fast so I can usually paint them in an afternoon. By that evening I can begin the hand painting. I’m in a bit of a hurry at times due to my massive coffee drinking habit.

What happens is that I fail to realize sometimes that I am nearly ruining what I have laid down in my skin tones at times. Covering them up by being to heavy handed with the brush and final break down layers I add.

Woe Skin Tone frontWoe Skin Tone SideWoe Skin Final

The above three picture (pardon the blurry pics they were reference pics I take tons of these when working and I generally dont post them online) show a piece I did a year or two ago. I was looking at this piece today as I was in the shop and it has always bothered me. I spent hours on the base skin tones and veining. I then proceeded to crush it with way to much color and noise on top of it in my opinion. If I had made the base skin tones and veining with more contrast it may have helped.

I have since taught myself to have a lot more patience when painting and to have a softer hand on my top most layers. I can always add more paint but taking it away is impossible.

This piece sits on my shelf of pieces I will never finish or try to sell. They all have taught me valuable lessons, and sometimes I pick them up and inspect them. As I have learned more as time has passed they teach me a bit more.

The moral of the story – Sometimes when I work in the studio I can’t see the forest for the trees.

Acrylic Paints and Thinning Them for Airbrushing

A collection of cans of paint and other relate...

Image via Wikipedia

I will start this off by stating that this article is completely my opinion and what I have learned and figured out over time in my shop, and through lots of research.

I use primarily Liquitex Softbody Acrylics in my studio. I do this because Liquitex makes paints with very good pigment load, lightfastness, flexibility, and durability. I can also thin them with airbrush medium and use them in my airbrush.  The other paints I use in my studio a lot are acrylic inks, either Liquitex acrylic inks or FW-inks. Once in a while I still use inexpensive craft acrylics but only as a primer or undercoat or on a test piece, or concept, or when I need a very specific color and am lazy, too lazy to mix it up. I can also use the softbody acrylic when doing brushwork, so I only need to stock one kind of paint.

Terms
Pigment load: Acrylic paints consist of acrylic polymer emulsion (binder) and pigment. The ratio between binder and pigment is generally called pigment load. The more pigment in relation to binder the higher the pigment load.

Lightfastness: The ability of the paint/pigment to remain unchanged after prolonged exposure to light.

Thinning paints for airbrushing.

Types of thinners

Airbrush medium: A mixture of acrylic emulsion (clear acrylic paint, acrylic polymer), and flow aid (reduces surface tension, reduces tip dry). A good choice for most applications.

Distilled water: H2o. Reduces pigment concentration and color strength. Depending on substrate and amount of thinning required may be suitable for some projects.

My thoughts on thinning paints:

Acrylic paints are made up of an acrylic polymer emulsion(clear acrylic paint) and pigment. When airbrushing with acrylics you need to thin them somehow. If you were to add just water to them you end up stretching the acrylic emulsion to much. If you stretch the emulsion to much the acrylic paint has a tendency to crack and peel over time after it dries.  If you think about it, what happens when you airbrush is you are spraying out tiny little droplets of paint onto the surface of your artwork. Water has lots of surface tension, if you have a lot of surface tension in those droplets of paint you get spatter. Spatter will cause runs on the surface of your artwork. After all you have a water trap on your airbrush, why would you thin your paints with water? You could use alcohol it has low surface tension. Some airbrush artists use windshield wiper fluid to thin acrylic paints. I have a hard time recommending this. Windshield wiper fluid contains large amounts of ammonia and alcohol these will evaporate, what you end up with is a very thin layer of acrylic emulsion that is stretched too thin.

What you need to thin your acrylic paints with is something designed for this purpose, airbrush medium. What airbrush medium contains is acrylic emulsion and flow aid. Flow aid reduces surface tension which reduces spatter and airbrush clogging and also retards drying time, which keeps the tip of your airbrush needle wet during use.

While I could just buy acrylics that are already made for airbrushing, I would then have to buy 2 kinds of paints for my studio/shop. There is a benefit to this of course, I would remove some of the frustration I encounter on occasion when I don’t add enough paint or medium and clog up my airbrush, or make the paint too thin.

Acrylic Paints and Thinning Them for Airbrushing