The concept is simple: to get back to the roots of direct communication. You ask a (preferably genuine, from the soul) question, you get a (no holds barred, brutally honest) answer from their oracles, made up of their highly experienced coaches and mentors.

For this to work, Quarantine Events has thrown social media far out of the picture. They have returned to a delectable source of communication void of third-party control and data scraping. They have returned to the ever-surviving form of the bespoke newsletter. And that’s right – it’s free! Get ready for the Brutally Honest Oracle answering your artistic questions every fortnight.

The twist

Of course, this wouldn’t be Quarantine Events without a twist. At the heart of their incentive to provide a safe space where questions can be answered with truth, there lies an “indispensable quality for this oracle to work”: the answers must all be anonymous.

Each question chosen promises to be answered by one or more oracles, allowing artists to receive multiple points of view. Sometimes contradictory, always opening the mind, the anonymous oracles promise to give you their informed advice based on years of expertise.

You will never know who’s on the other side of the crystal ball. If you knew which mentor was responding, the oracle would be corrupted, just like social media.

Why the anonymity?

If you have managed to go through life using the internet and never once been on the receiving end of some unwarranted offence, you are one of the rare few. From people being ridiculed for asking genuine questions to response videos based on someone else’s response video, the internet – and especially social media – is often a knotted loop of knee-jerk opinions and ego topped with a sprinkling of finely distributed unnecessary criticism.

There are, of course, well maintained “safe spaces”; closely monitored online communities with rules and regulations to instil order and security. These can be shining beacons for like-minded individuals and provide positive experiences. But there will always be capacity for uninvited voices to ruin the vibe within any public platform where genuine conversations may be trying to take place. In the world of social media, every piece of ourselves that we put out there is laid bare for others to do with as they wish. It can be vulnerable and draining. But there is another way. As the Quarantine Events team put it: “email lets us keep our dignity”.

This anonymity also works both ways; those asking the questions can also stay anonymous when submitting. The beauty is that this concept focuses on what matters most: the exchange of knowledge.

There’ll be delightful chaos, contradiction, and paradox. It’s an Oracle! But answers will always be informed and from the experienced.

What kind of questions can be asked?

While artists are encouraged to use their common sense when drafting questions, there is no limit to what – or how many questions – can be asked. “An honest answer requires an honest question. So, be brutally sincere.” Suggests Carles Gomila, Artist & Quarantine Events Director.

“Ask anything about using fear and vulnerability to make art. Anything about the creative process. Anything about how to be an artist. Anything about art education… Just don’t be annoying, and use common sense.” Says their handy FAQ.

The team will be grouping answers for the Brutally Honest Oracle by theme, so with Oracles giving their answers every fortnight, you may have to be patient. Rest assured, however, that each newsletter will have plenty to inspire you.

You don’t need to ask a question to be a part of the Quarantine Events Community

If you’re feeling apprehensive about getting involved, it’s important to remember that the Quarantine team welcome all curious creatives. You don’t even need to input a question to enjoy the Oracle newsletter; just sign up via their website and wait for the fun to glide into your inbox! From exploring self-identity neurosis to career advice and everything in between, the Brutally Honest Oracles are here to guide you, free of judgement.

As someone who receives hundreds of emails a day, sometimes it is hard not to feel overwhelmed when I open my inbox. Believe me when I say that the Brutally Honest Oracle is a breath of fresh air. These oracles’ answers will make your brain tick and fizz. Maybe you’ll be inspired to overcome an internal block or two.

We can all do with a little nudge to bring more art into our lives.

Quarantine Social Media Accounts + additional blogs

Website | Brutally Honest Oracle | The Art Spirit 2025

The post Quarantine Events Brutally Honest Oracle: your art questions answered, no holds barred appeared first on Beautiful Bizarre Magazine.

In this special editorial, Matt Taylor takes us on a journey through his process, sharing a few secrets from his research stage and right through to the end result. Available now as a limited edition screen printed poster, we hope you enjoy this behind the scenes – thank you Matt for sharing!

Matt Taylor: the making of Kiki’s Delivery Service movie poster for Spoke Art

Preparation

For any movie poster, the first step for me is watching the film. I’ll pop it on and watch with a notepad to hand, usually writing down notes and thoughts about the film, but also some small thumbnail sketches if an idea comes to mind as well as time codes for scenes that I feel might be worth revisiting.

For Kiki, my initial thought was that I wanted something to communicate with the poster was the hustle and bustle of the piece – Kiki working in the shop, making friends and growing as a person. Obviously, there’s no scene in the movie where everyone is in shot at the same time, so I thought I’d build one, with the key cast going about their day and Kiki off on one of her errands.

With animated movies, I feel like it’s really important to stay on model to the character designs and backgrounds so that it feels recognisable. Ghibli has such a strong aesthetic to its films, it would be mad not to try and capture that. When I made my Akira poster for Spoke Art back in 2022, I created the layout solely from collaged screenshots, which I could use as the guide for my drawing, and it felt like this was the right choice for this piece too.

Thankfully there’s a bounty of websites devoted to screenshots from movies, so I went through the film shot by shot and grabbed a whole bunch of images that featured poses or elements that stood out to me. Once I had them all, I created a new canvas in Photoshop and set to work.

Building from the blank canvas: the importance of typography

The first thing I wanted to nail down was the title treatment. With any movie poster I work on, type is always the starting point. At the end of the day, a poster is a tool for communication, and if you can’t see what the title of the movie is then you’re not making a good poster. 

I had an idea that I wanted something big and bold to run through the center of the image (I’ve been increasingly drawn towards large dynamic title treatments this year). I wanted to have most of the text in Japanese with just the title repeated in English. I hate working on a white canvas, so I threw the blue in there as a base color – mainly because it’s the color of the Ghibli title card and was fresh in my head. This turned out to be unexpectedly fortuitous because it unexpectedly presented the idea for a variant colorway, but I’ll get to that in a minute.

Experimenting with image placement

Once the type was locked in place, I started to place the screen grabbed images from the movie around the page. I found a nice unobscured view of the shop to serve as the centerpiece of the poster and then experimented with placing different elements around the page to see where they felt right. I’d like to say there’s some logic and mystery to this stage but it’s really just a case of moving things around until they feel ‘right’.

Linework

When I had enough of the key pieces in place to begin drawing, I started to put in fairly loose but detailed linework – there’s nothing worse than when you’re making a finished painting and you come across a section that you really didn’t think through at the sketch stage! Once this was done, I basically had my finished line sketch. 

Usually I would start throwing some color on, but when I took a step back I realised that the black line on blue looked just like a Ghibli title card and it was great! There was no way that it would be the regular colorway of the poster, but I sent it over as it was to gauge what Ken and John at Spoke Art thought about it. 

They liked it! And because we’ve been working together for more than ten years, they trusted me when I said ‘I’ll figure out the actual colors for it when I’m painting’ – for which I’m always grateful. Having that trust with a long running partnership really makes the whole process so much easier.

Making the final design

Once the sketch was signed off, it was just a case of making the final art. This piece was a little different because I wanted to match the visual style of the anime, which meant everything has a black outline around it – something I don’t always do. With a view on avoiding nasty surprises down the line, I drew the entire piece as an outline first – moving a few elements from the sketch and substituting a couple of characters as well.

Generally I draw each character in a separate group on Photoshop so I can move them around. I’ll usually draw a little extra of any characters that fall behind others, so I have some flexibility to move them around. Once the art is moving towards a finished state you see things that aren’t obvious at sketch – usually, lines meeting each other awkwardly, or areas of similar colors next to each other that make it hard to read – so having the ability to adjust without having to repaint it is super helpful. I try to make my art as modular as possible without it feeling too stiff or awkward.

Once the line art was complete, I moved to the coloring. Because each character was in their own group I could paint quite loosely – mixing up tones and textures without worrying about painting outside the lines. In terms of the actual painting, there’s no real explanation other than ‘I just painted it’. So much of it is intuitive by this point – moving textures around and constantly editing as new components are finished so that everything feels harmonious. I’ll usually just work on a piece until it feels ‘right’.

I set a rough palette of contrasting colors in the swatch menu so I could swap colors quickly when painting. Instead of using traditional grey values, I cheated slightly and used colors that are higher contrast. This way you can have an image that from a value point of view is almost the same tone, but your eye reads the contrast and the whole thing can remain really bright and vibrant. I think from a color-theory perspective it’s not the best way to work, but it’s where I’ve landed!

My defaults when I’m painting are blues, pinks and oranges, with maybe a pop of bright yellow. Oftentimes I’ll use adjustment layers to change the finished piece once I’m done, but in this case, it felt like I’d really captured the mood of the movie without simply aping the palette of the film.

Once the color is added it’s then just a case of looking at the whole piece and picking out any errors – usually, areas where the contrast between the foreground and background isn’t clear and making sure all the type is legible. I’ll often paint the amends on a single layer on top of the artwork because at this point everything below it is locked and it’s faster to add the last details to everything at once.

Because I spent a long time on the sketch making sure it was readable, there weren’t really that many edits to make; in spite of its relative complexity, it was a pretty straightforward piece to paint. Planning made it so much easier than other pieces that I’ve only had a very vague idea of what they would look like when they’re done…

And that’s about it!

Want to get your hands on a copy of this limited edition screen printed poster? The work is now available via Spoke Art’s online shop – but be quick, they are selling fast!

About Spoke Art

Matt Taylor is an artist and illustrator based in the UK. With a visual style that leans toward the figurative and dynamic, he has found himself working for a wide range of clients from Nike to the BBC. Over the past few years, he has created sought after movie posters, trading cards and comic book covers.

Matt’s clients include: Amazon Studios, Apatow Pictures, Apple, 20th Century Fox, BBC Worldwide, BOOM! Studios, DC Comcis, FIFA/Triad Berlin, The Guardian, GQ, JWT, Jack White, Lucasfilm, Marvel Entertainment, Mutant, The New Yorker, The New York Times, Pearl Jam, Penguin Books, Phish, Queens of the Stone Age, Spoke Art, Sony, Vertigo Comics, and The Washington Post.

About Spoke Art

Spoke Art is an exhibition space and curatorial venture specializing in new contemporary painting, sculpture and illustration. Started in 2010, the gallery puts on pop-up shows and participates in conventions and art fairs around the country. You can usually find us in New York, Chicago, Los Angeles or Miami at least once a year. 

Matt Taylor Social Media Accounts

Website | Instagram

Spoke Art Social Media Accounts

Website | Facebook | Instagram | X

The post Behind the scenes with Matt Taylor: the making of Kiki’s Delivery Service movie poster appeared first on Beautiful Bizarre Magazine.

A graduate of the University of Fine Arts in Madrid, mixed media artist Emanuela Nesko merges physical props with photography and digital enhancements to create eye-catching, symbolic images. By further pushing the boundaries of experimentation, we see Emanuela developing her ability to express heartfelt narratives and emotions which are both easily relatable, and deeply personal. This is part her of her charm; focusing on self-portraiture, her vulnerability helps us to form an even deeper connection to the images before us.

Hand-crafting multiple elements, I found the design process behind her latest work so fascinating that we had to share. Read more about the making of ‘The Demons in My Head’ below.

Emanuela Nesko: ‘The Demons in My Head’

I have two main workflows for creating an artwork. One is to start with an idea of an image that I have in my head and develop it, understanding the theme and trying to figure out the concept as I create it. The other is to choose a theme and create everything around it. I decide what colours to use, props, location, symbolism, etc. to express the concept more accurately. The first is more intuitive and the second is planned and executed with a specific theme or message in mind.

The sketch

For ‘The Demons in My Head’, I kept having this image in my mind of demons coming out of a person’s head. These figures represent negative or overwhelming thoughts that I sometimes have. I usually start with a rough sketch of the idea I have and write down notes, glimpses of thoughts, and what the concept is about.  

The shoot

Once I have a concept, it’s time to shoot. I plan exactly what I need to photograph, but during the shoot I also experiment with different poses and angles. That way I have enough images to choose from. Since most of my images are self-portraits, I put my camera on a tripod and connect it to an app on my phone. This way I can see what the picture looks like without having to go to the camera to see what I took. It also allows me to use the phone as a remote for the camera and to see if the pose is right before I take the picture.

The shooting of this picture has a very interesting story. I shot it in the home of a very nice lady I met because I took care of her cat a few times while she was on vacation. I told her what I was doing and that I found her apartment very interesting. So, I asked if it would be okay if I took some pictures there, and she agreed. Some of my other artworks from that year are there as well, and some from 2023.

During the shoot I also used flour mixed with water to create textures on my face because I knew I wanted the final image to have a lot of different textures. Additionally, I felt this would help the demons that I wanted to create to blend better with the rest of the image. As for the demons, I created them with acrylic and something textured, I think it was salt, and photographed them to later merge them with the main image in Photoshop.

Post production

After taking the main image, I adjusted the colour and light and mixed in the little demons I created for this piece. This editing was the less complicated part of creating this work.

Creating the mixed media

Since I wanted to create a mixed media piece with this concept, I first had to print it on the paper I use for most of my prints, Hahnemühle Museum Etching. I ordered a few smaller prints to see how the colours looked in print and if I needed to make any small adjustments. I also used the small prints to test the final piece. After a few small tests, I also printed a little larger to do some bigger tests. The idea was to add dark textures coming out of the heads of the demos, as if they were contaminating everything around them. I used ink and a granulation medium to granulate the ink and create these beautiful textures.

Finally, I was ready to make the final piece, so I printed it out to the size of a wooden board that I would glue it to. Since I wanted the sides of the board to match the textured feel of the image, I added texture with acrylic and flour. Then it was time to add the ink textures. I used the tests I did for inspiration. Since it is a fairly free and intuitive workflow, the end result is similar to the test, but unique in its own way. I also added tape to cover some parts of the image where I didn’t want the ink to go, and created some textures on those areas as well, since the tape would tear off parts of the print when I removed it.

Here you can see close-ups of the final piece:

Normally it doesn’t take me that long to finish an artwork, but this one in particular I started in the summer of 2022 and finished in January 2024. I did many other artworks in between, but for this one, I took a break after each stage. The last stage of creating the mixed media took me the longest; I did small tests first, so I had to order the prints, do the tests, then order more prints, and so on. 

After completing this piece, I feel like I learned a lot and took a step forward in the direction I want my work to go.

What I love about art is the constant experimentation and discovery of new and exciting things that you can add to enrich the artworks.

Emanuela Nesko Social Media Accounts

Website | Instagram | TikTok | Facebook

The post The making of: Emanuela Nesko’s ‘The Demons in My Head’ appeared first on Beautiful Bizarre Magazine.

This blend of traditional and contemporary tools create the unique works which form Giampiero Abate’s signature aesthetic. Thematically, his portfolio explores multiple ideas, but the overarching use of bodily poses and symbolism allows Giampiero to express human emotions and philosophical ideas in a boldly visual way.

As with many artists who use symbolism, it can help to learn more about the artist’s process, both conceptually and practically, to see how a spark comes to fruition. We are delighted to share this little peek behind the curtain: welcome to the world of Giampiero Abate.

Giampiero Abate: the making of “GRAVITATIONAL WAVE”

Following my research into physics, astronomy, philosophy, esotericism and an investigation on the role of Man within the universe and with nature, in this “AeroDrawing”, I was inspired by the “Gravitational Waves”.

When I think of a track: I like to study to understand the topic well and to find ideas.
So, in the meantime I do some sketches and look for references to study the composition. If I like the composition, I work using Photoshop to build a final images, and prepare for the transfer to the media.

For this piece I worked with a gray tonal paper, charcoal, graphite and, of course, airbrush with acrylic paint.

Step 1

I transfer the project to paper and start the adventure! 

Step 2

I choose to start with the hair, using charcoal pencils as well as a brush and smudge to be uniform and precise. Precision is needed!

Step 3

I continue drawing the figure in the same way.

In the meantime, I listen to music, but also audio books and videos of physics and astronomy conferences on YouTube. For me, these are the best inspirations to keep me inspired while working on this painting.

Step 4

While sharing these images step by step, I should explain more about “Gravitational Wave” and how to further connect with the drawing.

The “Gravitational Wave” is a disturbance of space-time, conceived in 1916 by Albert Einstein as part of his General Theory of Relativity. These gravitational waves can be generated by a cosmic phenomenon of particular intensity, in which enormous masses vary their distribution during, for instance, the explosion of a supernova, or in the collision of objects such as neutron stars and black holes. It’s like the shock wave from an explosion.

Scientifically, these variations on Earth modify things to the extent of an atom.
But are we sure that we are not somehow influenced by them?

Can they influence, for example, communications and relationships between humans? And what if they affect the mind?

Step 5

And so, while I immerse myself in my thoughts, I continue to draw with the pencil and the charcoal dust, with shadow and brushes. When more or less the figure is defined, as well as her drapery, I dedicate myself to the “distortion” that generates the wave.

Step 6

And then, finally, I take my airbrush and start defining the volumes, using an acrylic white. Now the shapes have their three-dimensionality, and everything makes more sense.

Step 7

Now I deal with the representation of the frequency and the cosmos on the right, always starting with the charcoal for the black base of the figure.

Step 8

Once the background has also been defined, I resume my acrylic airbrush technique. It is always with white and neutral gray variations that I create sparkles and bright lights.

Step 9

Finally, all of the details, the balance of tones, corrections and various cleanings are complete. In short, I have added all of those finishes that are needed to reach the conclusion.

At the end

My painting entitled “Gravitational Wave” is complete.

Thank you to those who have dedicated your time to see how my artistic process works, from the idea to completion. My idea is to do a little bit of reflecting and stimulating research, and the study, while maintaining easy reading styles and techniques.

To see more of Giampiero’s works and keep up to date with his latest adventures, follow him in the links below!

Giampiero Abate Social Media Accounts

Website | Facebook | Instagram

The post In the studio with Giampiero Abate: the making of GRAVITATIONAL WAVE appeared first on Beautiful Bizarre Magazine.

Tony’s method can be described as spontaneous and fun. He does not have an over-prescriptive approach to artmaking, rather his works are free-flowing and organic; they develop on the canvas and, often, take directions Tony Thielen never intended in the first place. This instinctual approach to art results in loose abstract portraits that have juicy structures and forms that reflect each and every mark of the artist.

My method is more about the process than it is about the outcome.

Tony THIELEN

Tony Thielen uses feeling to direct his brush, but his painting technique is grounded in education. He takes a designer’s eye towards building a painting through layers and collage. In this behind-the-scenes, we follow Tony’s brushstrokes as he explains the painting method behind a new portrait. As well as being a gifted painter, Tony Thielen is a generous artist. In this demonstration, Tony Thielen not only shares the reasoning behind his artistic choices but he also teaches us that true creativity is about taking risks and being unafraid to paint outside the lines.

Let’s follow Tony Thielen as he talks us through the creative process behind this mixed-media portrait.

Getting Started

To begin, I first taped down a piece of Canson Canva-paper. I have never used it before, and I wanted to give it a try. Then I start adding colour, marks and other media to the paper. I want to kill the white of the support, and I want marks and colour I have to react to as I build up layers. Here I used gouache, coloured pencil, spray paint, transfers and acrylic paint.

Laying-in the Outline

Using my reference, I lay-in a loose drawing and using a round bristle brush; I begin painting in the dark areas of my portrait by scumbling in transparent acrylics.

Shadows and Skin

These dark areas were painted in with high-flow Transparent Brown Iron Oxide. For the skin tones, I use Transparent Brown Iron Oxide, Yellow Ochre, Cad Red Light, and Titanium White. The Yellow Ochre and Cad Red Light are thinned using a high flow medium. This way I can scumble back and forth in thin layers to both control the transitions of colour and to decide which areas I of the underpainting I may want to show through.

Collage and Marks

I added some collage papers and a few new marks. This is something you can do at any time in the process. And then I worked on detailing some of the facial features.

Experimentation

I decided to begin exploring the background and painted several different ideas. I thought simple shapes and colour would contrast well with the detail of the portrait. At this point, I didn’t feel the background was working, and the Canva-paper was buckling like crazy.

Changing it Up

 So I painted the background with gesso, mounted the Canva-paper to a wood panel using matte medium, and collaged in old newspaper printouts that I downloaded from the Library of Congress.

 I flipped the painting upside down and, using high-flow Transparent Yellow Iron Oxide, squeezed the paint directly from the bottle along the hairline to get the flowing drips.

Seeking Balance

Trying to find a balance between foreground and background, I added Transparent Yellow Iron Oxide and expressive lines and shapes on the background. At this point, I also begin using oil paint. I glazed yellows and reds into her face. I also played with blue in the background, and having some of the marks and colours come through.

After that, I glazed yellow into the hair and played with the blue a little more. Something about the background wasn’t working for me, so I set it aside for a few days to let everything process.

Letting it Go

For the finished piece, I realized I was trying to hold on to her hair and all those beautiful marks on her torso. I had to let them go as they were all competing for attention. Using a pallet knife with black and grey oil paints, I was able to create a strong contrast in both colour and texture to her face. Changing her hair also allowed me to frame her face with a new hair design.

The End Result

All the underlayers of colours and marks play an integral role in the outcome of the finished portrait. Looking closely at the completed work you can see still elements of the previous layers sneaking through. Those previous layers also add to the texture of the final piece.

My method is more about the process than it is about the outcome.

Tony Thielen Social Media Accounts

Website | Instagram | Facebook

The post Tony Thielen’s Inspiring Painting Demo: Making Marks appeared first on Beautiful Bizarre Magazine.

Impressively, Juliet celebrates two solo shows this year; a huge feat for someone who is only 22 years old. In her most recent solo show “The Midnight Moondance” at Antler Gallery, Juliet created five of the largest scale artworks she has ever created. One of these was “Moonlight Flight”. Read ahead to learn about Juliet’s process in making this significant piece.

Juliet Schreckinger: the making of “Moonlight Flight”

I always like to start my pieces with a rough concept sketch, and then refine that until I am happy with the overall composition. Once I have a completed final sketch, I project it onto my good paper and trace my original sketch so I have a complete map of what the drawing will be.

I also write a short story about the piece, and try to get in touch with that narrative as much as possible when giving the characters their expressions.

After I have my pencil outline, I begin the VERY long stippling process. I always start with the main character’s eyes, as I find if they aren’t just right it will set the wrong tone for the entire drawing. If the eye does not come out how I wanted it to, I will start all over again and repeat step one with a new piece of paper. 

I also write a short story about the piece, and try to get in touch with that narrative as much as possible when giving the characters their expressions. Once I ink the eye and I am happy with it, I draw the rest of the face and move down the body.

The next stage of the process is really just rendering out the figures. I work in a unique way in the sense that once an area is complete, I don’t really have to go back over it or work in layers. I will add finishing touches, but my stippling is more like a “printer” in the sense that once I am done with an area, it is pretty much done.

I am using a .003 Sakura Micron pen, so the tip is extremely small and therefore takes a very long time to cover large areas. At this stage, such as the process on the owl’s wing, I will put on an audio book (usually something in the horror or mystery genre) or an interesting podcast or music. I love this part because I really get lost in my work and get to know the intricate parts of my characters.

The next stage

Once I have finished the main wing on the owl, I move on to the back one. I will usually do the darker area first in a situation like this (in this case the front wing was darker), so I can use it as a value scale for the lighter one. The whole time I am drawing this, I am referring back to my original finished sketch where I figured out how I wanted the characters to look, and constantly checking my lighting.

If the lighting is wrong, the whole piece will lose its realistic qualities, and once I am so many hours into a piece I do get a bit nervous about making an error. There is really no fix for a large mistake with black ink on paper!

When I finish the owl and I’m satisfied with it, I move onto the next character – which is the heron. The good thing about working like this is that you constantly have a value scale based on the last section you did, so I always refer to the previous character to know how my values should be for the next one. For this piece, I just went in size order, starting with the owl and working my way up from there.

Stippling complete! This is always the BEST feeling, because at this stage I was 267 hours into this piece (yes, I log the exact hours spent on each piece in a little notebook!). Putting those final few dots always feels so good!

From here, I will then add my graphite background and any final touches needed to the piece. I will remove the tape from the edges, scan it, and send it off to the framer where it gets protected behind UV glass and then shipped off to the gallery!

A short story about “this piece”Moonlight Flight”, by Juliet Schreckinger:

Waldo the great horned owl has always considered himself to be an explorer. He has spent his time on this earth learning and visiting new places, finding so much joy in the different landscapes he has seen. He had always traveled alone, not minding the time spent exploring in solitude. Lately though, his eyes seem to not be as good as they once were, especially at night. He was always able to see everything so clearly, but he recently has had trouble navigating after the sun goes down and only the moon is there to give light to the darkness.

On his most recent travels, he met a toad named Seymour. They got talking, and Seymour shared his secret dreams of being able to fly. “It is that amazing, there is nothing better than flying through a cool starry night sky. But I am afraid that was my last flight, as my eyesight has become increasingly bad at night and I am scared I will get lost. I can no longer navigate as I could when I was young,” Waldo explained.

They sat for a long time in silence, when finally Seymour said, “What if I am your eyes?” He paused, looking at Waldo. “What if you take me with you, and I help you navigate? I would get to experience flying, and you would get to continue exploring at night as you always have!” Waldo adored this idea, and immediately wanted to try out Seymour’s plan. Waldo helped Seymour onto his back, and took off into the night sky. It worked; Seymour navigated them both perfectly while Waldo glided through the crisp autumn air. They picked up more friends along the way, and soon there was a whole crew of nighttime explorers, all helping to navigate the beautiful old owl, who thought that he would never be able to explore like this again.

More to see

Interested in seeing more of Juliet’s latest works created especially for her solo show? Head to Antler Gallery’s website to see all the works from “The Midnight Moondance”!

Juliet Schreckinger Social Media Accounts

Website | Instagram | Previous interview with Juliet

The post Juliet Schreckinger: the Making of “Moonlight Flight” appeared first on Beautiful Bizarre Magazine.

Oh gee. Caroline Gaudreault’s portraiture is a ‘for whom the bell tolls’ kinda thing?…because – lah-lah-lah – let’s all think about a fluffy hamster crocheting a teeny little lap blanket, instead! The lush, alluring flowers blooming from her subjects’ fields of vision actually offer us an aesthetic and even joyful counterbalance to the inescapable fact that the journey of life leads to death. The Quebec-based painter elaborates: “I am trying to bring beauty” to an otherwise somber certainty. “This theme and this imagery appeals so much to me because despite everything, I portray characters that still seem happy.”

Let’s keep running with the very welcome notion of painterly optimism by seeing how Caroline Gaudreault’s latest blossom-eyed beauty, Chickadeer, evolved from inspiration to execution. This exclusive behind-the-scenes peek into her creative process is so wonderfully thorough that you may very well be inspired to try your hand at transforming acrylic paint into a seemingly fragrant, petal soft, and oh-so-lovely symbol of vis vitae. We’re so glad that you’re joining us today! Caroline’s studio is this-a-way…

Revealing the preliminary stages of one’s work can feel a little uncomfortable, particularly because it is hard to imagine how the ‘ugly duckling’ will ultimately transform into a swan.

Inspiration For Chickadeer Painting

I usually have dozens of ideas for new works of art. Most of the time, however, I don’t even use them because exciting new concepts enter my mind on a regular basis. The allure of developing my newest ideas tends to be irresistible. Since I am a slow, methodical painter though, I typically end up with more ideas than finished paintings.

My artwork is often inspired by wildlife encounters among various other daily situations. When the pandemic started, my family and I used to go on hikes several times a week. During one such wintertime excursion, the idea for my Chickadeer painting struck me.  

While walking along a trail in the forest, a few chickadees were circling around us. They were in close proximity to my son Emilio, who extended his hand. Remarkably, some of the birds repeatedly perched on him. I realized afterwards that chickadees in that region are accustomed to hikers since they have year-round access to several bird feeders there. Of course, witnessing that seemingly “Disneyesque” incident – starring such beautiful, irresistibly enchanting little creatures – was fascinating to us.

Emilio exudes serenity and wisdom, plus he is quite connected to nature and animals. It’s not a stretch to say that he literally worships them. He quite often saves insects, ensuring that they are relocated to a safe place. Even when my son was just 1 ½ years old, people would stop me in public places to tell me that he had such a special and serene look on his face.

Keeping the spirit of my son in mind, I decided to personify his essence as a youthful deer with his antlers covered in chickadees. Since Emilio is still young, I decided to represent him as a white spotted a deer. I convey his calm and wizened demeanor in the mature forest backdrop of my painting.

When I’m working on the drawing that will become the foundation of my painting, I don’t mind the evolutionary process that occurs. Various changes happen along the way, some of which are serendipitous.  

Preparatory Sketch For Chickadeer Painting

Before creating a painting, I often do graphite sketches to see if my idea is aesthetically feasible. Some concepts seem great in theory but once I commit them to paper, they end up looking totally ridiculous. When that happens, I modify my idea…or abandon it…or occasionally even revisit it at another time when I can view it through a different lens.

This actually happened during the idea phase of my painting Sanctuary. I had created my preparatory sketch for it a while back, ended up abandoning it, and then one day I felt inspired to finally commit it to canvas.

Reference Photos

Reference photos are an excellent resource for artists. I am not always familiar with how to accurately represent the physical structure, proportions, and aesthetic nuances of all animals. Sometimes I use free licensed photos, or I purchase photos, or – when possible – I use my own photos. The birds perched on my deer are true-to-life since they’re the exact species that my family and I encountered during our forest walk. I studied various photos of black-capped chickadees to get all of the details right.

While I appreciate incorporating realistic details into animal portraiture, I always enjoy adding my own flourishes to the creatures that I end up committing to canvas. The deer in my painting is a creative hybrid based on features that I gleaned from assorted photos. I probably invented a new species since I was so inspired by the diversity of facial features, antlers, etc. that exist in the wild kingdom.

I don’t know if it’s the same for other artists who work on the same canvas for a long time, but for me, at some point in the manifestation of a painting, I almost always think that my work is either not appealing, or ridiculous, or that I have somehow failed.

Color Palette

In a single work of art, I rarely incorporate more than 6 different colors. Making my own color blends based on primary colors, white, black and – depending on the piece – raw or burnt umber is an enjoyable part of the creative process for me. There is a little bit of raw umber in almost every Chickadeer color mix.

The Background

Since I work with rapidly drying acrylics – and I often try to get the background gradient just right – I always paint a complete background on my canvas before reproducing my sketch on top of it. I build my background with areas of lights/shadows/reference points so that they are in the right place on my painting. As my work of art progresses, I always tweak the background a bit.

Reproduction of Chickadeer Sketch on Canvas

Once the background of my painting is completely dry, I sketch the general details of my composition directly on my canvas in pencil. That is my least favorite part of the creative process, so I tend to rush it so I can begin painting just a little bit sooner.

I used to create very general sketches – with just the outlines of my subjects – rather than detailed reproductions. That ended up being a precious waste of time since I inevitably had to redraw those details with paint. If I made proportional or volume mistakes, I frequently had to start over in order to cover those errors. Now, I create slightly more detailed sketches without fail. I have found that building the volume of my various compositional elements directly on the canvas using paint helps me to achieve the best outcome.

Regarding the sketching process, I have found that projectors can distort image proportions. That’s why I occasionally divide my drawing into a grid for the most accurate reproduction. There are other times when I create a freehand sketch instead, which generally requires various tweaks along the way to get the proportions just right. When I’m working on the drawing that will become the foundation of my painting, I don’t mind the evolutionary process that occurs. Various changes happen along the way, some of which are serendipitous.  

Almost every time while I’m working on a painting, I wonder how I’ll know when it is finished. Inevitably and without fail, however, I always just know.

Time To Paint My Subject

This is one of my favorite steps! This stage – which will result in my deer looking two dimensional – is mainly about placing a rough and thin darker layer of colors and tones here and there, completely filling in the first layer of its body. I have learned that this is not the time to be concerned about volume and realism. It is only later that I will lighten everything up by incorporating many new volume-building layers.

I must admit, however, that I did work a little bit more on my deer’s antlers because I knew that birds would end up perching on and around them. I realized that if I spent time now to ensure that its antlers were fairly worked in, my job would be a bit easier later. With each consecutive step, I always end up adding many more details to make such a prominent feature look realistic.

Succession of Thin Layers

I’ve observed many artists who carefully paint each part of their painting inch by inch until their entire canvas looks perfect. I don’t work like that. I prefer starting rough and then refining as I go along by adding layers of paint and details all over the surface of the painting.

Once the first layer of paint completely covers the canvas, it’s admittedly not so pleasing to the eye. Even though I know that everything will be fine with the addition many more paint layers, at that moment, I can’t help but feel a little panic. Fortunately, a long succession of extremely thin layers of fluid paint begins to give shape to my subject. During this stage (almost the entire painting), I work on the various parts according to my mood.

As the creative process progresses, I am able to refine volumes, light-darkness, and reflections. It is only at the very end that I add the small details and define the contours. I almost never finish one part before the other.

The allure of developing my newest ideas tends to be irresistible. Since I am a slow, methodical painter though, I typically end up with more ideas than finished paintings.

Trees and Branches

I wanted to achieve a hazy forest ambiance in Chickadeer. Since I didn’t want the twigs to be too defined, I used glazes to cover them with mist. I painted fairly defined branches on my background first, and then I alternated layers of branches and glaze to achieve the morning mist effect. Finally, I painted some more defined branches in the foreground to finish the scene.

Disillusionment and the Urge to Give Up

I don’t know if it’s the same for other artists who work on the same canvas for a long time, but for me, at some point in the manifestation of a painting, I almost always think that my work is either not appealing, or ridiculous, or that I have somehow failed. That’s always a good sign to leave it alone for several days and do something completely different. I even avoid looking at it! When I revisit it later, I generally make some changes and adjustments that help me to fall in love with it again. That’s when I become especially motivated to finally finish it.

Final Chickadeer Details

Almost every time while I’m working on a painting, I wonder how I’ll know when it is finished. Inevitably and without fail, however, I always just know. As long as there are details that seem unfinished, I continue working. In the end, I methodically review each element on my canvas and refine everything so that it appears very polished.

When I believe that my painting is finished, I apply acrylic paint to the perimeter borders of my canvas in a complementary color that matches its background. I paint most of my artworks on gallery size canvas (with at least a 1.5 inch border), so they don’t need to be framed.

This theme and this imagery appeals so much to me because despite everything, I portray characters that still seem happy.

Varnishing

Even though acrylic-based paintings don’t require varnish, I apply a glossy topcoat to my works of art without fail because I believe that it enhances their appearance. For a nice uniform finish, I like to apply several coats. Even though it is a fairly long and laborious step, the end result is well worth it. There is nothing more exciting and satisfying than seeing the dramatic contrasts that emerge amid the first coat of varnish.  

At the same time, however, applying varnish to a painting is really frightening since it has two notorious enemies: air and dust/pet hair.

Air: Acrylic varnish dries so fast that it is really very difficult to apply on large acrylic paintings. You have to work fast, with sure motions, and above all, you can NEVER return to the areas where you initially applied varnish because the finish becomes compromised almost immediately.

Dust/pet hair: I have three cats! Prior to applying each coat of varnish, it can be quite time-consuming to carefully vacuum all floors and surrounding areas to ensure that no dust or particles are present. That’s why I always try to varnish several paintings at the same time.

Completed Chickadeer Painting

Revealing the preliminary stages of one’s work can feel a little uncomfortable, particularly because it is hard to imagine how the ‘ugly duckling’ will ultimately transform into a swan. An artist may wonder, “Am I going to successfully manifest this concept?”

I am happy to say that Chickadeer has been sold, so it makes me believe that I achieved my goal, which is very encouraging. It’s been an honor to reveal the many steps of my artistic process to Beautiful Bizarre Magazine’s readers. Thank you for following along!

Caroline Gaudreault Social Media Accounts

Website | Facebook | Instagram

The post Behind the Scenes: Caroline Gaudreault’s Chickadeer Painting, From Concept To Completion appeared first on Beautiful Bizarre Magazine.

Yes. Reading the blueprint that William D. Higginson has fastidiously detailed below will take a few minutes – and we understand how busy everyone is – but any artist or lover of all things creative will be richly rewarded. The Australian painter’s process is truly that remarkable….but why? Perhaps you’re interested in taking your art practice to the next level. Or you want to figure out how to revamp your entire approach so that each step in the manifestation of your idea will always lead to greatness. There are surely many creatives out there who are longing to get so much more out of their practice but don’t quite know how to make that happen. The secret sauce that William has cooked up in his studio consistently yields highly polished and thought-provoking works of art, so perhaps once you reach the end of this article, a few new-to-you ah-ha sparks will clearly illuminate your own personal creative journey.

A Few Words From William D. Higginson

On a daily basis, all of my decisions, passions, dreams, and inspirations are connected to art. “Check” is a perfect example of the deep level of commitment that I have to my craft since it’s the largest (60 x 100 inches) work of art I’ve ever created and among my most complex undertakings.

Initially, my clients reviewed my portfolio and identified some of the thematic content that they were most interested in, which provided me with a solid creative springboard. Based on that insight, I was able to brainstorm several interesting new ideas for them, which I developed into the three separate painting concepts. My creative process ultimately yielded my completed work of art, entitled “Check”, which includes key compositional elements that resonated the most with my clients. I am so pleased to share my behind-the-scenes insight below – thanks for reading!

An echoing theme in my work is a clock inching closer to doomsday, with an additional optimistic minute to temper the impending doom. 

Painting Concept #1

Artists rely heavily on the subconscious mind. The many things that we’ve been exposed to in our lives inevitably shape our work in some way, shape, or form. There are a few recurring ideas from my previous paintings that really resonated with my client, including my wanderers, which are a hat-tip to my childhood hero, Salvador Dali.

My wanderers reflect various aspects of my artistic history but they’re also emblematic of the human race constantly learning, growing, and seeking answers. I typically render them in single file through each artwork like obedient little creatures. Peregrine man is another aspect of my ouvre that surfaces time and time again. He has solutions but must first face many obstacles along his journey.

The feet of my wanderers are always composed of tree roots, which is an acknowledgement of the roots within our lives. Occasionally, however, that’s not beneficial – particularly if we latch onto specific thought patterns or lifestyles – since it can often be very difficult to move on from that position. That’s why I depict my wanderers moving, and therefore evolving.

While visiting Hawaii, I photographed these remarkable tree roots, which I decided would be the perfect element to integrate into my painting. This sketching exercise was my attempt at determining if I could revamp the appearance of my wanderers’ feet by incorporating a more complex tree root structure.

I grew up playing chess with my older brother who was a chess champion. I could never win but I loved the challenge, and that pretty much sums up my perspective of everyday life.

While developing my image on paper, the 1986 fantasy film “Labyrinth” popped into my mind. I realized that I wanted my painting to emulate the feeling of Jim Henson’s movie – dark, dreamy, contemplative and fun. In particular, I envisioned the Junk Lady who was used as a pawn by Jareth to throw Sarah off track while she was pursuing her quest. It is emblematic of the junk in our minds, lives, and world that throws us off track. I think that trying to staying focused so we don’t deviate from our path is a universally relatable theme.

I decided to hammer home the idea of my wanderers being like an infinite parade walking the desert, while peregrine man is overwhelmed by the endlessness of it all. This sketch shows how I’m playing around with different scales and perspectives. While I’m waiting for the right feeling to hit me over the head, I am constantly thinking and dreaming of other possible ideas that may come into play. 

As I was working on my tree root sketch, the idea of integrating marbles came out of nowhere. I thought about my childhood experience trading marbles in the school yard with my classmates. Playing the game actually taught me how to let go of things that I was attached to without having a tantrum. I decided that adding marbles to my artistic concept would represent one of the most admirable aspects of human nature – good will. If only the world was more like that.

At this stage in the drawing, I am still modifying my composition and the idea of marble sharing. I am interested in conveying peregrine man’s contemplative mood – as well as the fact that he’s noticeably tired – while the endless parade of wanderers notice his marble. I like the fact that the second wanderer takes note of what he’s clutching. How will it be possible for peregrine man to share what he has with everyone when he only has so much to give?

When you’ve put in as many hours as I have into the design of the piece, having one item slightly out of place can significantly compromise the composition. That’s why I prefer working methodically.

I rendered some of the wanderers’ pear bodies with bite marks, which represents the war wounds we experience in our lives. Introducing seagulls picking away at the exposed bites in the pears gave me a bit of a chuckle since it’s reminiscent of how people tend to attack our vulnerabilities. I like to deal with problems and solutions, so the idea of covering the pear bites with glass casing enters my mind. That’s my artistic spin on turning our weaknesses into strengths.

Painting Concept #2

I grew up playing chess with my older brother who was a chess champion. I could never win but I loved the challenge, and that pretty much sums up my perspective of everyday life. That’s why so many of my paintings include a chessboard. However, after so many years of trying to win a game, what happens when you finally do? What’s next? Do you just play another game or move on? Do you wonder if you actually even won? My second painting concept focuses on what happens when we reach a goal without knowing what our next step will be.

I inverted this photo, printed it out, and then created a rough sketch of painting concept #1 directly onto the image to see if it could be a good fit. I ultimately decided against using it since my wanderers need to originate from the turn in the distant valley. If I used this image, they’d end up walking on the side of the mountain ridge. That would add too much weight to one side of the painting, which would throw off the balance.

As I delved deeper into this concept, I stopped creating small sketches in favor of working on more developed drawings. Here, you can see how my previous Alaska-themed concept really didn’t pan out. Much like a squirrel being chased by a dog, I took a sharp right turn.

It’s hard to explain how an idea feels right…but it just does.

I have often thought about how the more we develop our gaming skills, the more fun we can have. This concept clicks with me since I really do love the game of life. Here, you can see the long valley in front of peregrine man while he sits on the fallen king, a marble in his hands.

An echoing theme in my work is a clock inching closer to doomsday, with an additional optimistic minute to temper the impending doom. As a cancer survivor, I watch time very closely and appreciate absolutely every extra second that I can make the most out of life. Cancer makes the things that truly matter the most in this life seem so simple and so crystal clear. I wish more people could understand. We’d certainly have far fewer angry horn honkers on the road.

One of my major goals is to inspire the viewer to walk the valley of life and see what is around the next corner. I thought that bringing humour into this concept by including a swarm of rubber duckies floating down the river would be great. It looked cool and made me laugh, but in the end, I really couldn’t justify it. I feel that each and every surrealistic element needs to be purpose-driven. 

On a daily basis, all of my decisions, passions, dreams, and inspirations are connected to art.

Painting Concept #3

I took a hard look at the questions I was asking myself in my previous sketches. One way or another, we still have to walk the maze whether the answers to our answers are right or wrong. Here, peregrine man is sitting on the edge of the maze, right on the edge of the V pointing to victory. Still, he ponders the clear cut path straight through the middle and wonders why no one else is walking the path. Should he enter the maze like everyone else or just walk straight through?

I’ve added the wanderers to remind us that no matter how easy the answer may seem or how clever we may be, we are all still a part of one big wheel. My lotus flower-headed wanderer references the ultimate gift of knowledge from experience. Without mud, there is no lotus. This character ultimately makes it out of the maze but is still wandering the desert. He has the knowledge, but not the courage to make the right decision. Consequently, he walks amid the world, unaware of his strength.

I decided that adding marbles to my artistic concept would represent one of the most admirable aspects of human nature – good will. If only the world was more like that.

FINAL CONCEPT

After looking at all three of my painting ideas, my clients wanted me to meld elements of concept one and two together. As you can see in this sketch, the marble, valley, chessboard, clock, peregrine man and the depth of the valley end up making the final cut. 

It’s hard to explain how an idea feels right…but it just does. Following basic principles of design is one thing, but it can be tricky to find the right balance once the pieces of the puzzle start filling the space. 

Model Making/Visual Inspiration

Now the concept and sketching stage is done, it’s time to move onto the real fun. Admittedly, I have struggled with conceptual drawing for years so. To mitigate my weaknesses, I use props and a lot of photography to get the shapes, perspective and lighting just right. This often takes days but this is just one of the many reasons why being an artist is so much fun.

This is a 12 foot diameter clock that I created with foamcore. By photographing my model, I’m able to establish the correct perspective and lighting.

As a cancer survivor, I watch time very closely and appreciate absolutely every extra second that I can make the most out of life. Cancer makes the things that truly matter the most in this life seem so simple and so crystal clear.

I build my pear skull creatures using wooden dowels, flexible wire, Styrofoam pears and plastic model skulls.

I have gone to great lengths to find the right shape, lighting, shortcuts and perspective to make my wanderers seem epic. At one point, I even created a life-sized pear creature to get a better photo reference, which was fun, but its enormous scale really didn’t work out in the end. I still haven’t achieved my true vision but it is something that I will keep working toward over the years.

I used these two photographs to form the foundation of the sky in my painting. Clouds always play a large role in my work, partially because I love painting them and partially because some of the artists who I admire paint them so well. I photograph them every opportunity that I get because they morph into so many beautiful shapes in such short periods of time.

Movie set prop stores – which make me feel like a kid at a candy store – are one of my favorite places to find unique subject matter for my paintings.

I have often thought about how the more we develop our gaming skills, the more fun we can have. This concept clicks with me since I really do love the game of life.

The Final Stretch

I’ve completed my modeling, so now it’s time to properly illuminate everything before photographing it. Each three-dimensional aspect of my composition has to be correctly lit based on the sketches I have already pieced together. That’s why I end up taking hundreds of photos at multiple angles. When I view them on a large screen laptop, I’m more easily able to tell which shots are the best. 

Once I identify the specific images that I want to use, I create a basic Photoshop collage to determine if the composition works. Once I land on the right one, I end up using that final Photoshop collage as my stencil, sketching it directly onto canvas with a pencil.

When you’ve put in as many hours as I have into the design of the piece, having one item slightly out of place can significantly compromise the composition. Not many artists will admit to transferring their work, but I prefer working methodically.

Seeing the understructure of my idea allows me to once again make sure that the image is accurate and I am not missing any critical elements that will throw off the end result. 

Now, I start laying in some colors that will begin to ground the work, plus I add more refined details. I changed my original moose skull to a more playful deer skull. I like the fact that the moose is no longer the dominating element in the piece. Additionally, this change in my design enables the beholder to pay more attention to what is going on with peregrine man.  

As I near the end of this piece, I feel good. It is indicative of my progression as an artist and my desire to really level up my career. I probably went weeks over budget, but I felt a duty to make my clients really happy, which is reflective of the treatment I give everyone who commissions me.

And there you have it – my oil painting, “Check”, in 6,947 easy steps! I am pleased that this piece was purchased, but feel equally happy to share insight into how I manifested it with the Beautiful Bizarre Magazine community. Thank you for following along – it was a pleasure and an honor!

William D. Higginson Social Media Accounts

Website | Instagram | Facebook

The post Behind the Scenes: William D. Higginson’s Methodical Artistic Process appeared first on Beautiful Bizarre Magazine.

I try to bring little waves of joy to my audience, or simple reminders that life is just a little too serious. In a way, my art is a form of encouragement – it urges us to definitely laugh whenever we can, eat the cookies, and do all of the things that captured our hearts back when we were young enough to know better!

For a kinetic explosion of lightheartedness – as well as footloose and fancy free ebullience – we invite you to join us on a creative journey into the mind of one of our favorite contemporary artists, Jette Reinert. The Danish painter never fails to emblazon upon canvas the visual representation of joie de vivre, which – for many of us – becomes increasingly elusive with each additional candle adorning our birthday cakes. Her delightfully quirky worlds are the artistic version of fireworks, sparking within us a renewed sense of enamorment for nothing in particular and yet everything that makes this existence well worth celebrating. All thanks to the flash of inspiration provided by haphazardly spilled coffee on canvas. Yes, you read that correctly, and – double yes – this is going to be heaps of fun. How much do we LOVE art process articles?? Woo-hoo – let’s go play!

Step 1

My art really does begin with a splash of coffee. I intentionally stain a pristine white page in my sketchbook with my morning brew. That may seem like a terrible waste of tree pulp and caffeine to some, but to me, it’s a creative opportunity just waiting to happen.

Not all of my irregular java juice patterns and splatter marks are usable. However, there is always at least one curiously shaped splotch that grips my imagination, leading to a jolt of creative inspiration.

Step 2

Once I identify the most aesthetically appealing coffee stain among my splashy experiments, I make sure it’s completely dry. Then I cover the entire pattern with black acrylic paint, which enables me to easily transfer it to my canvas. If I’m feeling artistically amazing that day, I transfer the pattern via a freehand sketch. Sometimes, though, I rely on a projector if the stain is really elaborate.

Step 3

As you can see in my preliminary sketch, I rotated my coffee-stained page 90 degrees. Why? Because just LOOK at the figure that was begging to be discovered by me! This is a perfect example of creative kismet, coupled with my imagination taking flight. I couldn’t resist adding a few additional flourishes to the pre-existing stain because that’s part of the fun of being an artist! Lately, I’ve been enjoying creating double-canvas compositions, and this one definitely fits the bill.

There is no doubt that I am an artist who appreciates whimsy. I convey that essence through my muses various poses, their partially unconventional skin tones, and the many details that seem to coax their personalities to the forefront.

Step 4

My main goal during this part of my sketching process is to figure out how to incorporate a checkerboard pattern – which is part of my signature aesthetic – into my composition. It’s a fun but also practical creative exercise. In a way, it’s like solving a puzzle. I determine through experimentation if the various patterns I’m including in a single composition will look better on human figures or animals. More importantly, I want them to look cohesive and pleasing to the eye.

I love the visual evolution of a work of art, and how the great celestial muse takes us in directions that are always unexpected.

Step 5

Now you can see that I’ve transferred my coffee-stained sketch onto a raw linen canvas. It’s at this moment that I thought, “Hey, what if I create a partially abstract painting? Hmmm….interesting…maybe that could work?!”

Step 6

Remember how I mentioned earlier – in Step 3 – that this is a double-canvas composition? Well, here is the left canvas joined to the right side (each one measures 100 x 80 cm). I’ve glammed up the left side with a black acrylic backdrop and metal leaf accents. Some of the raw linen is peeking through – intentionally! – because contrasting elements are an artist’s best friend. For now, this abstract part of my painting is complete, but of course that could change if a new lightning bolt of inspiration strikes me.

Step 7

Boy, this painting is really starting to take shape, isn’t it? These shots depict the minor modifications that I’ve made during the sketching process, including tweaking the garment that my muse is wearing. Because, as we all know, any self-respecting lady needs to make sure that her belt will accommodate a massive machete. Imagination is a beautiful thing.

Any artist loves laying down the details to make their piece really pop, and I am no different.

Step 8

It’s at this point that I apply a white acrylic base coat to my muse. Why? White neutralizes the playing field, so to speak. It helps me to determine if the various components in my sketch are working – especially the contrasting patterns that I frequently like to integrate. Allowing a composition to marinate in my mind and on my easel enables me to slowly but surely find more obvious design solutions.

Additionally, not all palettes are immediately obvious to an artist. Staring at a painted white figure – which is sort of like a ‘blank slate’ – actually helps me to catch the true pulse of my painting. Yup, this can take a while, but I always end up finding my way.

Step 9

Who doesn’t love a liberal lashing of metallic glitz? This is the point when I lay down my copper and gold leaf, observing the way that those two tones play off each other. That enables me to get a good sense of the earthy palette that I’m going to incorporate into my painting. Before long, I begin adding lots of layers of color to enhance my muse’s boots, belt, and trousers, the latter of which transforms from a mossy green to a deciduous forest tone.

I love the visual evolution of a work of art, and how the great celestial muse takes us in directions that are always unexpected. That’s why certain splashes in the backdrop of my painting morph into small fish, dogs, and even some very delicious cherry-topped muffins! Because…why not? The creative process is fun!

Some of the raw linen is peeking through – intentionally! – because contrasting elements are an artist’s best friend.

Step 10

Any artist loves laying down the details to make their piece really pop, and I am no different. At this stage, you can see how I’m bringing in more color, shadow, and depth, plus fun little accents like the checkerboard pattern on the coat as well as bold-colored dots and stitches around the base of the boots.

We can’t forget my muse’s travelling companions, both of which are taking shape quite nicely. And of course, look at the f a b u l o u s l y glitzy spear that my muse is holding (no…not the rose….the actual weapon in her other hand)! Clearly she’s prepared for whatever life throws at her…stylishly of course.

Step 11

These three panels highlight the swirls, textures, and flourishes that are a consistent part of my lighthearted artistic repertoire…plus my kitty has finally grown her downy soft coat. There is no doubt that I am an artist who appreciates whimsy. I convey that essence through my muses various poses, their partially unconventional skin tones, and the many details that seem to coax their personalities to the forefront. It makes perfect sense the thumbnails of this particular muse are painted bright fuchsia, and that I’ve added tiny cherries to the top of each flying cake in the background. One of the most wonderful parts of the art making process is having creative eureka moments!

Allowing a composition to marinate in my mind and on my easel enables me to slowly but surely find more obvious design solutions.

Step 12

Hooray! My completed painting – entitled “Catfish and Rose: It Can Only Be Good” – is finally joined together, and ready to lift the spirits of the person who officially adopts it! Thank you to everyone who has taken the time to see how my artistic process works, from concept to completion.

I try to bring little waves of joy to my audience, or simple reminders that life is just a little too serious. In a way, my art is a form of encouragement – it urges us to definitely laugh whenever we can, eat the cookies, and do all of the things that captured our hearts back when we were young enough to know better! I hope that my master plan worked and that you are smiling from ear to ear!

Jette Reinert Social Media Accounts

Website | Facebook | Instagram

The post Behind the Scenes: Jette Reinert’s Coffee Stain-Inspired Artistic Process appeared first on Beautiful Bizarre Magazine.

The techniques she has developed recycle materials, which is for me a respectable choice as an artist. Furthermore, this combines with her overarching awareness of the mark humanity has made on the world – and on the other living creatures who struggle to exist alongside us. Her sculptures often hold thoughtful narratives about our relationship with nature. Subtly, we are encouraged to think about the vulnerability of the creatures that she recreates alongside their external strengths. Add in her ability to ensure visually stunning, often surreal elements, and you begin to see why Sarah Lee is an important sculptor in the modern age.

Vulnerability and durability

I wanted to juxtapose the fragility and vulnerability of eggshells with the hard metal armature fiberglass sculptures. I wanted to play with the themes of yin and yang, the breakable with the unbreakable, weakness and strength, vulnerability and durability, and find the balance in between.

Since I have a love for animals I started to seek and research animals that portrayed strength, yet were vulnerable in some way. I started off with reptiles because the scales of reptiles’ purpose were the same as the eggshells – protection. Then, I would replicate the scales of the chosen reptile with the eggshells to show full control of the material.

Sarah Lee

If, like me, you’ve been curious to learn more about how Sarah creates – you’re in for a treat! Below, Sarah she takes us through her process of creating her sculpture, Yin and Yang, which made the Finalist category of the Beautiful Bizarre Art Prize 2019.

The Yin and Yang project

Step 1

Rather than starting off with a sketch, I dove right in to make a small model for Yin and Yang so I can get a feel for form and proportion. Since the clay is polymer I can change it however I want without breaking anything – it’s essentially sketching with soft, flexible clay. After a feel for the outcome, I move on to making the eyes.

Step 2

For the project Yin and Yang, I chose to sculpt two baby dwarf caimans. I knew the eyes of these reptilians would be the focal point of the onlookers’ gaze.

Because our human brains naturally recognize faces before anything else, I believe the eyes are the most important part of the sculpture. When creating a new piece, I always start off with sculpting the eyes and I typically spend most of my time sculpting and detailing the head.

Step 3

While the eyes are still in the drying stage, I start welding the armatures and thinking about the inside structure of the artwork. I have to make sure it’s sturdy and won’t collapse from the pressure of heavy fiberglass, bondo, and clay.

Step 4

Sanding the egg was the most grueling part of the process. I hated it! I still hate sanding. If you look at an egg, the eggshell’s surface is really smooth. Smoothing out the fiberglass and bondo is not an easy task. Nobody likes sanding. It’s the most boring part of the process, and sanding fiberglass leaves you itchy all day long – even with a full body cover and respirator. Fiberglass loves to stick to human skin and sweat. I have tried to find better methods for this arduous process, but my search continues.

Step 5

The fun part!

After welding the heads to the bodies, I move onto detailing. I find the most enjoyable part of the process is adding the details. Usually, the start of a project will look like pieces of trash I picked up from the dumpster, so transforming those pieces into something beautiful with my own hands is incredibly rewarding. When nothing starts looking like something, it’s very satisfying.

Step 6

Problems with gravity.

Gravity isn’t your friend. This sculpture is front-heavy and I had to spend some time figuring out how to keep it from toppling forward. I’m no Isaac Newton, so this type of engineering was probably the most challenging ordeal. At this point, the small model I made was useless. The model was able to stand on its own because it was small and light, but blowing that up 10 times its size was not going to work. I had to improvise and change the position so it would stay upright. It was quite a process.

Step 7

Buying more than a thousand quail eggs.

I got very used to people staring at me whenever I bought quail eggs – I guess not many people buy them in bulk. Sometimes people would ask me what I plan to do with them.

Usually when I tell them I’m using them for art they will give me a judgemental look, which is great because it cuts the conversation short and my introverted self is then saved from conversation exhaustion.

I use most of the eggs in my homemade dog food, and carefully wash the shells one by one so my projects don’t smell like rotten eggs. This process takes about a day, then I wait for the next day to treat the eggshells before gluing them to the surface of my project.

Step 8

Gluing the eggshells to the scales of the reptile one by one creates an extra layer of cracked texture and makes the sculpture appear more realistic. Sometimes I’ll leave the eggshells as is, or add a thin layer of paint to further the likeness of the animal.

After that, I seal the project so that the shells become durable and last longer than they otherwise would.

These are organic materials, so I assume they will crumble or change over time. The base and the skeleton will remain, but the skin will fade. I like the concept of nothing lasting forever, and I’m satisfied knowing I was able to give the eggshells a second life.

Step 9 – The finishing touches

I must admit, my favourite part is not the start of an artwork, but the end of it. There’s something so satisfying in adding the last finishing touches of a new creation.

It’s that feeling of reaching the end and feeling accomplished, I guess.

I hope you’ve enjoyed this little peek into my world!

Sarah Lee Social Media Accounts

Website | Instagram

The post Sarah Lee: Exclusive Behind the Scenes on Her Yin and Yang Project appeared first on Beautiful Bizarre Magazine.