Thursday, October 30, 2014

Things I've Learned Working As An Artist

I turn 45 today. It's been making me reflect on a few things, stuff I thought I'd share here.

I've been working professionally as an artist since 1997. Sure, I've been doing art for as long as I remember, and even had a few paying gigs in my late teens and early twenties, but it was when I was 27 that I was finally able to do it full-time. From 1997 until 2003, I was working as a digital artist in a studio, colouring and inking comic books, working on poster and t-shirt designs, all kinds of things. Since 2003, it's been life as a freelancer, and the sorts of work I've done has expanded dramatically since then.

During all this time, I've met and worked with a lot of very cool people, been involved in some great projects, and learned a lot about what it is that I do and what it is that I continue to want to do with my artistic life. This is a brief list of some of the things I've learned and would like to pass on.

Never be afraid to take chances with your art. I mean that you should be open to trying new things all the time. For example, I had only ever used photography as reference for my illustration work, never as the 'final product', until the summer of 2009 when I was asked to do some cosplay photography with some models I was working with. While I didn't stay with the cosplay aspect for very long, the experience of spending several months taking photographs where the photograph itself was the final product was a great time, and led directly to the whole gothic project that I've been involved with ever since. None of this would have happened if I hadn't taken that chance and tried something new.

Challenge yourself periodically. Several years ago, I came to be very unsatisfied with my approach to anatomy in my pencil and ink work. I started to feel that all the detail I was putting in was actually hiding flaws in the basic anatomy, preventing me from moving forward. So, I decided that the next few pieces I did would have absolutely no shading detail in the lineart at all. Essentially, all of those illustrations would have the simplest lineart possible, just outlining the figures, which I would then paint later. This forced me to improve my anatomy, as any and all errors in it would be glaringly obvious with no cross-hatching or anything else to hide them. It ended up working very well for me, as the anatomy I was drawing improved dramatically in a very short period of time.

Place value on your own work, and only work with people who also value it. Essentially this means that you shouldn't work for free, but that's a bit too simple a definition. One of the things I spoke about at a recent convention here in Winnipeg was about when it is appropriate to work for free, and it really just came down to only working on things that matter to you, preferably for a charity. I have found that people who aren't willing to agree to a value (whether monetary or some other form of compensation) for your work also don't value you, your time, or your work. Absolutely never let yourself get bullied or pushed into doing work for free, and certainly never 'for exposure'. Honestly, the only reputation you will ever get for doing free work is that you will do work for free. That's it.

You aren't working 'for free' when you are adding to your own portfolio, you are working for yourself, and the payment is a better and more diverse portfolio to show prospective clients and potential fans. If someone approaches you and asks for you to do artwork for free for them, claiming that it will be good to add to your own portfolio, you should be doing that already.

Okay, I don't want to get this to be a rant about never working for free, so let's change the focus a bit. Look for opportunities to work with other artists, most importantly artists that you respect and appreciate the work of. And I don't just mean splitting art duties on a piece with other people (although that can be a lot of fun and a great learning tool as well), but simply working in a studio environment where other artists are working, each of you involved in different projects, is a fantastic experience. I personally don't get to do this nearly enough, which is too bad as I used to really enjoy my time working in a studio environment.

Never stop learning about the world around you. It's far too easy to get so focussed on your own interests and work that the rest of the world falls into unimportance, but continuing to discover new things will only improve what it is you are trying to say and do with your art. At the very least, it will provide inspiration for new stories to tell.

Work on artwork that is your own and keep developing your own style and voice. Don't simply attempt to emulate the work of others, but try to find some way to show the world your vision in a way that nobody else can or has done. There has been a lot of controversy about some artists who do line-for-line recreations of the work of others and selling it as their own without even a credit to the original artist. Setting aside the legal and ethical ramifications of these sorts of actions, I just can't imagine that this sort of work is in any way satisfying to the artist. Copying others while learning is all well and good, as it is an excellent way to discover why certain decisions about that art were made, but it never feels as good as creating a drawing or a painting, looking at it after it is done and saying 'I did this, this isn't a copy'.

I'm certain there are may more things to say, but I'm getting all rambling now, so I think I'll just close this for now. I guess the most important thing to say about being an artist is just keep at it, respect yourself and your work, and keep trying new things.


Tuesday, October 28, 2014

Hulkbuster Iron Man vs Ultrons

It isn't jumping on a bandwagon when you've been a fan all your life!


I finished up this 10"x15" pencil illustration of the Hulkbuster Iron Man battling a cadre of Ultrons yesterday, and am very pleased with it. I need to get a high-resolution scan done of it soon so I can paint a colour version as well.

This original pencil piece is available for sale for $250 - contact me for more info.

Monday, October 27, 2014

Painting Process: Creepy Robot Forest

Here's another (Halloween-themed) post about my process in painting one of my robot pieces. As with all of these, they are painted in Photoshop, RGB, 300dpi at 12"x18".


This started with a photo of Erin taken during one of our many shoots in the forests near Winnipeg during the summer of 2013. Most shots of her tend to be very action-based, but this is a rare one where she seemed to have been reacting to something behind her, rather than being more pro-active. It made me wonder what could be behind her to have her that concerned. Thus, the disturbing metal forest filled with other, creepier robots came about.


Basic flat layers laid down to be painted. As with all of these paintings, the colours used at this stage do not reflect what the actual colours will be.


Hair and internal lighting layers added in.


Very simple foreground and background layers added in.


I did a quick pass on painting the background and robots, just to get the feel I was going for. These robots are not nearly as detailed as Erin will be, as they are much more about setting mood than being realistic.


Foreground metal tree painted.


I decided a bit of vine-style wiring hanging between Erin and the background elements would be effective to create more depth in the piece, as well as increasing the uneasy nature of the piece.


Hair on Erin painted.


Basic metal modelling on Erin painted. There is a strong difference in colour between the warm background and cool foreground.


Internal lighting on Erin as well as polishing effects added in. Some fog/dust painted between the layers as well.

Prints of this piece can be seen and purchased at this link.

Thursday, October 23, 2014

Robot In Space

I'm a little surprised that I haven't done anything with space before this as part of my gothic project...although, I suppose this is getting pretty far away from the original direction it was headed...


That spaceship in the background is heavily influenced by the starship art I saw a lot in the 70's.

Prints of this piece are available for purchase at this link

_____________________________________________


A collection of my cyberpunk and robot photography and illustration work.
Robots and cyborgs, some sexy, some deadly, all presented as photographed and illustrated by Ian Sokoliwski. Mind-bending cityscapes, ruined wastelands, even some hints of Victorian-era Steampunk homes all provide the settings for these female androids and bionic women.
A showcase of cyberpunk and science fiction robot artwork of photographer and illustrator Ian Sokoliwski.
100 pages, magazine format, available as a printed copy for $19.99 and as a digital download for $1.99...


Monday, October 20, 2014

Painting Process: Screaming Robot

Another in my series of painting process blog posts. As with all these pieces, this was painted in Photoshop, RGB, at 12"x18" and 300dpi.


This one is fairly simple. I started with the photo of the model, Guido, where she was yelling on a table. I created the robot lineart from that.


I wanted her up in the air, something with a good sense of space behind her, so I thought another grid pattern building would work. Some sort of open factory space, almost cathedral in nature. So I created the basic design here.


Laying out the flat colours for the robot. Each colour is a separate layer to be painted.


Laying out the basic background pattern on separate layers as well. Note that the colours for these various layers do not represent the colour scheme of the final painting.


Background painted in. I knew I wanted to go with a cool background and warm foreground, so there are a lot of cool greys and blacks here, with a very strong light source outside the window. I even added in the suggestion of a larger city outside of that window.


The metal beam that Guido is perched on is painted. I gave it a warmer paint scheme, going with the suggestion of it being rusted out.


Basic metal modelling on the robot done. Note that the colour on the robot is universally grey at this point - more subtle colour changes will be added in later.


Colour changes added in to the robot. I warmed her up, included the cooler light from the background on her as well, to completely integrate her into her surroundings.


Final metal polishing and eye effects added in.

Prints of this piece can be purchased at this link. Also, be sure to check out my Twitter feed - there's lots of crazy stuff on there!

Monday, October 13, 2014

1950's Pin-Up Robot

Something new, stylistically, with a new model.


Monique has a wonderfully classic pin-up style, and I really wanted to work with that in my first painting with her. So, developing a mildly crazy vehicle (loosely based on the 1957 Chevy) and creating a future-as-seen-in-the-50's setting, this is what I came up with.

And the name of the diner is a shout-out to my favourite coffee shop here in Winnipeg.

Prints of this piece are available for purchase at this link.

_____________________________________________


A collection of my cyberpunk and robot photography and illustration work.
Robots and cyborgs, some sexy, some deadly, all presented as photographed and illustrated by Ian Sokoliwski. Mind-bending cityscapes, ruined wastelands, even some hints of Victorian-era Steampunk homes all provide the settings for these female androids and bionic women.
A showcase of cyberpunk and science fiction robot artwork of photographer and illustrator Ian Sokoliwski.
100 pages, magazine format, available as a printed copy for $19.99 and as a digital download for $1.99..


Thursday, October 9, 2014

Gunslinger Robot

I really do love the whole Old West aesthetic.


This is with Lady Erin, a new model I just did a shoot with this past Sunday. She brought some wonderful qualities to the work, and I've got plenty of ideas for paintings to do with her in the future.

Prints of this piece are available for purchase at this link.

_____________________________________________


A collection of my cyberpunk and robot photography and illustration work.
Robots and cyborgs, some sexy, some deadly, all presented as photographed and illustrated by Ian Sokoliwski. Mind-bending cityscapes, ruined wastelands, even some hints of Victorian-era Steampunk homes all provide the settings for these female androids and bionic women.
A showcase of cyberpunk and science fiction robot artwork of photographer and illustrator Ian Sokoliwski.
100 pages, magazine format, available as a printed copy for $19.99 and as a digital download for $1.99..