Tag: studio

Syn Studio Life Drawing Workshop #1 – 20min Pose


I did some longer poses during this workshop, but I think this is my favourite drawing. Why? It’s not really that it’s ‘loose’ – too many people get attached to that quality in art as if it’s magic. I’m more happy with how the lines are direct, assertive, and minimal. I’m happy with the texture of the watercolour, and how it’s also minimal, while creating a sense of realism. The expression looks natural and like there is a real person behind it. The composition is pretty good. It makes me happy to see this in my own work when it’s done this quickly. This is a record of how streamlined my brain has become with art and I am happy to see the progress. Mistakes and salad fingers aside.

10 min. sketch from model, 10 min. watercolour

There’s more work like this on my website under 2013. (Update – Year labels have been removed from my site. It would be under a life drawing section. Have a look around!)

WIP Drowning Panel EP1 – Quality of Watercolours (See link for Reviews)


More shading, washes, and layered colours. I’m not really happy with how the watercolour is interacting on the hand. My perfectionist, OCD inner asshole tells me, “Shoulda thought of that! So obvious blue is not going to sit well on skin tone and look like water.”

Well, fuck you. It’s actually not entirely true because the way watercolours interact heavily depends on their make up. The amount of binding agents, the type, whether it’s natural or synthetic pigment, how much and what pigment is used to make the colour, the quality of the materials, the amount of water… Technology is aiming to formulate more consistent, colour accurate, and lightfast paints, but each tube will always be different. If I used a different brand with a different formula, the end result and colour may be very different. I feel like I’m saying this as if “you all should know this”, but I only recently learned this myself after using watercolours for years. I was watching a Japanese watercolourist paint, and the way his paints were interacting was just baffling me. Apparently, I own very shitty (and cheap) watercolours and have been making-do with them.

Make a coffee, get comfortable, and check out the awesome in-depth resources found on Handprint.com!

Work in Progress; Slumbering (2007)

0029I’ve been busy with moving across several provinces to my new home in Quebec and settling into an apartment. I’ve also been busy with putting together a pitch for Telefilm, which has eaten up the majority of a very rushed month. Currently, I am working on colour correcting a documentary – but maybe more on that later – and in between that, I am dealing with depression.

For now, here is a Work in Progress sequence of a painting I did long ago in 2007 that I found the other day on my hard drive. The painting is called Slumbering, it is 30″x48″, acrylic on canvas. I painted this during the summer in the shed at my parents’ house. I found it very enjoyable to work in there, despite the wasp nest in the ceiling and related interruptions. The image is based off of a sketch of Canada Geese I drew from the nearby river in Lindsay, Ontario. Usually, it is a place where geese and ducks come to rest and nest – probably because it is relatively safe and plenty of people come to feed the birds. The birds are not afraid of people, and I’ve had a duckling eat out of my hands on my lap before. So, getting sketches and photos of them was quite easy. Not sure what intrigued me to paint the back end of geese…but it’s a serene painting I still very much appreciate.

My choice of music, while I worked on this, was Boards of Canada. I really didn’t have much else but the sketch and some colours in mind when I started this. A lot of my old work is very emotionally driven…a lot of choices are just made by what I feel like…hence the marshy, cloudy grass that has no real world context. I used to visit these geese a lot when I wanted alone time, and I always felt very peaceful when I sat with them.

What you can’t see, because of the photo quality, is the initial, very basic pencil sketch. I’m not sure how much time I spent on this painting, but I’d say I’d spend an hour or 2 working on it at a time. Towards the end, I spent more time with the painting. I spend a lot of time just sitting with the work and looking at it.

The painting itself can be found on this page of my website. If you’d like a print of this image, please contact me.


This here is a test I made to show my studio teacher and to have something to refer to on my studio wall. He didn’t have much to say overall for my mid-term. Since the semester started in June, he has not made any effort to learn about comics so that he can actually provide insight into my work and even though he’s formerly a painter, he seems to have nothing to say about the aesthetics either. I’m not mad. This is NSCAD. I don’t expect anything more because the standard for this school is at a low.



I have layouts drawn out for pretty much each page and panel for episode 1 of this yet-to-be-titled comic, so I basically take a ratio of the size of the panel and scale it up to draw a bigger image. I’m also really terrible at actually applying my mathematical intelligence, so of course I completely screw up. The top panel has the dimensions applied backwards. It should be wider than taller… yup. Fortunately, this is only buildings and you don’t notice I had to stretch out the image. I’m also forced to squish the panel below. That was a close one…

This is just to see how these look together, as I’ve yet to put any of my panels into a page-by-page solid layout on the computer. This is page 2, so it would be on the left side of the book; the second panel is meant to bleed. Oh yeah, neither of these are done.

My NSCAD Studio

I’m gonna rip you guys off. Here is the finished panel. On the wall.


After inking with a quill and brush and adding some shadows WITH the lineart, I revived some highlights and added some clouding effects with white designer gauche + some water.

This is also my shabby studio space…my dingy dark corner that I spend 1 day a week in toiling away for 10 hours. Those are some hair style sketches on the wall. I made them because I frequently become very unimaginative when getting technical while drawing.