Written by Natasja
It has been ages since our blog had a proper update; our sincere apologies for this. Many things have been happening lately and these updates were more or less put on the backburner.
So yes, my official post, well the first one with my signature, not per se the first post by me… I wanted to give you all an insight into the belly of the beast, a nice one to start off with no?
First of all, the artists: you all know David, of course. David specialises in more commercial work and is known to dabble around in the oeuvre of Warhammer for inspiration. David is also full-time operational for all things Studio Colrouphobia-related and quite often can post his works online.
I, on the other hand, do still keep a day-job at hand. We shall not mention anything about the corporate world I work in, but I can only contribute part-time to the studio. The difference between David’s work and mine (and so are the commissions and clientele) lies mostly in the mediums we use. I paint oils on canvas, a process which I am quite fond of, however a very painstaking slow one. I hardly use any retarders or accelerant when I paint with oils, hence the drying time for a canvas takes quite a while. I also tend to have way larger deadlines than David so as a result I perhaps produce only 2 to 3 large pieces a year. Given that this is my part-time occupation, I can hardly complain.
I do however once in a while provide sketches that David finishes up and generally deal with most things admin for the studio. On top of that one we can both be lucky to have some form of synergy that enables us to comment on each other’s work, pointing out errors and compositional issues etc…and still maintain a marriage that is amicable.
Our current standing discussion deals with Spacemarines (am an Ork player so automatically have issues with beakies..) and their anatomy. In my humble opinion, a suit of power armor, as depicted on models and most illustrations, does not add up anatomically and this peeves me beyond all, and has done so the past 7 years. Seriously those shoulderpads and …anyways this is the human part of our studio. Add Khan the Cat, Balor our French bulldog, and most of all our two Hellspawn ages 8 and 10 and you can imagine the Studio to be a lively place at times.
This brings me to the second part of this post. Since we have moved last August, we actually had the opportunity to install a proper studio in our new house. Our old apartment just was not that suited all these activities and alas oil-painting with pets and children running around proved to not always be the best of combinations. Since August we have been refurbishing the studio, making sure one space is properly dedicated to all things artsy and booksy. We moved our rather extensive library into the same studio-space. We take quite some inspiration from books and comics, so it made sense to have them close at hand. However one shelf is solely dedicated to all things art.
In this shelf you will find:
1) Paper, sketchbooks, stamps, and prints
2) Reference books. Oh yes these we like, ranging from books about sculpture, Da Vinci sketches to books about the rainforest, books with vintage cards, books about WW2, books made by artists we like and respect (Paul Bonner, Alan Lee, you name it…)
3) RPG books. Yes, we both play RPG, tabletop and miniature (LARP we leave for the experts). These books provide us with insight so our illustrations and paintings actually make sense in the universe they are supposed to take place.
4) More RPG books and our contributor copies. On this shelf I also keep a model of a 1967 Ford Cobra 427 and we have some bugs in resin as reference. We use almost anything.
5) Here we keep our signed copies of books that we received from colleagues. It is always nice to swap artwork with fellow artists after a convention is over. We also keep magazines for reference here. You would be surprised how much help you can get from i.e. a Vogue magazine, or Motorsports Europe.
6) Models here. From dinosaurs, to sketch-dummies to manta-rays…we keep most of our models on the top shelf. (albeit a bit empty now, since some models are still in one of those elusive “last-box-after-move-which-will-stand-taunting-me-for-months-more-to-come”-mode.)
7) …and coffee. No proper studio functions without a jolt of caffeine (no number added, I assume a thermos is quite visible and noticeable…and perhaps draws less attention to my caffeine addiction)
This is of course all in a nutshell. The studio as a workspace is far from complete. We still need to exchange the desk and install the drawing table. We hope to provide an update soon and show you all a nice image of an organised studio. Which will last about 5 minutes before two artists are let loose in it and Chaos will reign supreme again…
Next update by me will provide you with a start to finish painting on canvas, until then I am quite sure my partner-in-art will keep you all in awe with his illustrations.
So this is a dual post. It will start by making a point about posting other peoples artwork around the Internet without referring to the artist.
It will end with a couple of new artworks from the studio.
In a couple of days, there will be a new post with process on the Mortarion-piece, but today’s post is important.
So recently, it came to the attention of a couple of artists that I keep close contact with, that a certain Facebook-page is posting images.
Nothing bad about this, however, the page is notoriously bad at referring to the artist.
So the second comment sais it is Karl Richardson, which is helpful, however, the comments are really not where such a reference should be, they should be where the artwork is posted, in the description.
This is a quite serious problem, usually brushed aside by fans as not being a problem at all.
So let’s try and give a little insight in this part of being an Artist.
FANS, this is for You! Take a good look and try understanding why this is important!
Let’s post this as an image. There will be a “free to use” disclaimer in the bottom of the image(s).
Please take your time to consider what each point say.
So what does this mean?
It means that whoever made the art you found cool and wanted to repost- tell us who made it! In the description of the art.
If you don’t know, the write that. That way, if someone let you know, you can alter it.
Does it mean that you will never be able to show any of Studio Colrouphobias works online?
No, it doesn’t. Of course you will.
But we would appreciate being asked. Sometimes our works are actually not for show everywhere. Some commissioners pay for more exclusive views. And we would demand a reference on the artwork, back to us, our website or facebook-page would be preferable.
It means that whoever made the art you found cool and wanted to repost- tell the viewer who made it! In the description of the art.
If you don’t know, then write that you don’t know. That way people can help you find out and, if someone let you know who the artist is, you can alter it.
You see, if we don’t get referred to then nobody will commission us, which also mean we will need to stop doing what we do.
And then there will be no art from us.
And now to stop on a more light note.
Being the more traditional painter of the studio, she is working mainly in Artrage, using some techniques She “learnt in the age of the dinosaurs, only now applying them on a digital canvas.” Images used for reference comes, amongst others, from National Geographics.
We hope to be able to show more of Natasjas work shortly.
Until next time!
On the Shoulders of Giants
You don’t become an artist on your own.
Even if you lock yourself in your room and teach yourself, you’re still not on your own. You’re learning from the legacy of all the masters that have gone before you. You’re pulling on artistic traditions stretching back hundreds and thousands of years.
My art is heavily dependant on the artists that I look up to. I look up to my heroes and pick apart everything they did. I try and reverse engineer their brushstrokes, their compositions, even the ideas behind their pieces. When my art is feeling stuck I look to them for direction.
Rembrandt gave me an appreciation for rich contrast and thickly textural brushstrokes. Sargent showed me what artistic bravado really looked like. Albert Bierstadt taught me the meaning of epic and George Inness taught me the power of subtlety. Thomas Moran showed me an American ideal and Mark Rothko showed me the feeling of nothingness. Frazetta reawakened an adolescent boy and John Berkey inspired with his beautifully abstract representational paintings. Pyle taught me composition. Hopper taught me silence.
I have been blessed with countless teachers–some alive, most dead.
This blog-entry is part of a series of Guest-blogs on Studio Colrouphobia called To be Inspired and Driven where some of the greatest influences on art today are invited to tell about their inspirations, their thoughts on art and their musings on anything related to art.
Noah Bradley is an environment concept artist & illustrator. He’s young but has already worked for an international clientele and has been accepted into the industry’s most prestigious publications. Even if you haven’t heard of Noah, chances are you have seen work he has done for Wizards of the Coast, L5R or AEG.
He is part of Awesomehorse Studios which do a great job of paying it forward to anyone and everyone who want to improve their skills and careers when it comes to art.
Noah Bradley is also the creator of The Art of Freelancing, a video aid to freelancers in art.
We here at Studio Colrouphobia did a review of this instructional video not that long ago. The review is found here:
The Art of Freelancing – a review with ducks