Hi y’all,

Welcome back to the blog! I know it’s been some time — sorry about that, things have been crazy. Since I last posted, I’ve been working on some new Satanic art for the Milton project, making some progress on the plein air painting, and plotting a new collaboration.

Let’s start with the new versions of Satan I’ve cooked up. I’ve turned the scene from Book I of Paradise Lost where Satan and his legions have been cast into Hell into a Procreate drawing. For a refresher, I had already worked up a conte and gouache drawing of this scene. Here’s that piece below:

Satan, fallen, stands to address his legions in Hell - conte and gouache on paper

As you can see, the first drawing was in black and white. The Procreate drawing was meant to help me think through some of the color questions I’ll be facing when I make this into an oil painting.

Satan, fallen, stands to address his legions in Hell - Procreate

Speaking of oil painting, I’ve finally finished the oil study of Satan’s head. As you can see above, my goal when painting Satan is to get as much chaos in the colors as possible in order to visually depict Satan’s inner turmoil. For the head study, I wanted to capture Satan’s descent into moral depravity, so I started with an underpainting using the Zorn palette, which only has a couple of colors. As I began working in the thick, impasto, chaotic blends of warms and cools, I ran into a problem — as I added more warm, it canceled out the cools, and vice versa, plus I was having trouble controlling my values (lights and darks). Here’s where the painting was when I last posted it:

Nothing a trip to the Met won’t fix! I decided to go poke around the impressionists, post-impressionists, and pointillists, and, sure enough, I found the fix. The key, as usual, lay in massing — creating large masses of light and dark, warm and cool, before adding smaller variations within them. If you look at this Renoir, for instance, the values and colors look blocked in in large shapes from a distance:

Renoir piece in the Metropolitan Museum of Art

But if you get closer, you can see smaller variations in color and value inside the masses:

The same is true for this pointillist piece (I failed to take down the artist’s name, unfortunately):

Pointillist piece at the Metropolitan Museum of Art

With that in mind, I came back to the Satan head study. Focusing on massing first, I was able to work in more color chaos without messing up the values. That, plus a little stand oil, and voila, Satan:

My take is a lot more painterly and saturated than the Renoir or the pointillist piece (what can I say, I like big brushes and loud colors), but, if you look closely, you can see the same mass-first-vary-later principle at work:

In some less unsettling painting news, I’ve also been making some progress on the plein air WIP I posted last time:

Between the tropical storms, flash floods, and heat waves, the weather has been keeping me painting indoors lately, but hopefully I’ll be able to get back out there and make some more progress on this soon.

In other news, I’ve got another collaboration coming up with my friend Kevin Shoemaker, a.k.a. Dandelot. For anyone who doesn’t know, Kevin is a really talented musician and producer. Kevin and I hung out in virtual reality a few weeks ago to do some live painting and playing/producing. If you missed it, check out the video below:

Kevin is releasing his debut album at the end of the summer. As part of the album release, I’m going to make a piece of visual art for every song, which I’m really excited about! You can keep up with the project and Kevin’s album release by stopping by his website and signing up for updates.

That’s it for this week! Check back in for more updates soon. Til then, have a great week, and keep creating!

Hi y’all,

Welcome back to the blog! This week, I’ve got some new work on the Milton angels project, some plein air painting, and an update on collaborations. On the Milton side of things, I’m excited to share that I finally got through a finished drawing of a full-body (fallen) angel, head and all! Of course, I started with the best character in Paradise Lost: Satan.

Satan addresses the fallen legions in Hell, Paradise Lost, Book I — conte and gouache on paper

This drawing started off as an attempt to fix the problems of the last full body angel I completed. That study, done in pen and ink on much smaller paper, came out a little awkward and too obviously stitched together for my taste. Here’s a reminder of what that looked like:

The first attempt at stringing together a full-body angel — pen and ink on paper

On the first angel, I worked from the previous anatomy studies I’ve completed for the Milton angels project, but I didn’t have any overall guide to reference (other than some gestural lines I made up at random). The result was an unfortunately clunky figure, a bit cartoonish and awkward. I’m much happier with the second one. For that drawing, I combined a finished figure drawing I did at The Art Students League with my angel anatomy studies. Here’s the finished drawing I was using as a reference:

Line/Tone/Value No. 7 — Conte, pen and ink, and gouache on paper

The latest study started as an attempt to improve upon the shortcomings of the first full body angel, but, as I worked, it developed a life of its own. The staff of the figure reminded me of Satan’s spear from the beginning of Paradise Lost. The distorted head looked like a fallen angel.

So I decided to turn it into a scene near the beginning of the epic. Here, Satan and his legions have been cast out of Heaven, fallen through Chaos, and landed in Hell. Milton describes Hell as a “dungeon horrible” around which “one great furnace flamed”. However, Hell’s flames cast “[n]o light, but rather darkness visible”. To capture that, I kept some light on the top of the figure, but kept the flames on which Satan stands dark.

Milton also describes Satan as carrying a “ponderous shield” and a massive spear from the battle in Heaven. The shield is “massy, large, and round” and “[hangs] on his shoulders like the moon”, while the spear is the size of “the tallest pine / Hewn on Norwegian hills”. I had a lot of fun playing with the scale of the imagery there.

For painting these past two weeks, I took a break from Milton-related work to do some plein air. The plein air painting is still in progress, but it’s been so nice to get outside and paint when the weather’s nice. Check out the WIP below:

More updates there soon. And don’t forget you can get behind-the-scenes time lapse videos and process photos of this painting, the Milton illustrations, and whatever else I’m working on by subscribing to my Patreon!

I also got to spend a night painting and chatting with the very talented Kevin Shoemaker while he produced music for us in virtual reality. It was a strange and fun experience, one very apt for the (hopefully?) tail end of COVID. Check out the video of our collaboration below:

And here’s the finished version of the painting I made to Kevin’s music:

Collaborative painting with Kevin Shoemaker, oil on canvas

You can find the rest of Kevin’s virtual reality hangs, as well as some great singles from his upcoming album, on his YouTube channel. And don’t forget to stop by his website, too.

That’s it for this week! Thanks for stopping by. Have a great week and keep creating!

The many mediums of Satan

Satan! + some non-Miltonic art

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