Hello readers. It is I, the artist for The Object.
I’ve remained voiceless for the entirety of the Object’s youth. Why?
Because I’m the art guy, not the writer.
But now that The Object has matured and blossomed from its humble beginnings, it may be time for my presence to be known.
And after all, haven’t we all got a story to tell?
What I’d like to share in this first part of my introduction is just a foray into my process and patterns of thought when making art.
On an average day, it goes a little something like this:
Text Message Received.
Winston: Hey I’d really like to see a picture of the small squid creature.
Justin: Ok, what’s it doing?
Winston: It’s outside the window of Lillia’s house, on the roof.
Justin: Neat. Ok, let me see what I can come up with.
And that’s basically it. Winston takes his thoughts, loads them into the double-barreled shotgun and fires them in my direction. I must then catch each of the mind-bullets and translate the world that Winston sees into a visual language.
Take the picture below for instance.
The difficulty with creating the above image was this: How can I portray that this creature is on a roof, outside a window, and still get a detailed close-up? The only way to show the window on the roof is to be far away; if I only made a close-up of the squiddy, the window might not be noticeable as that particular window.
So I split the middle, and drew both. The top panel gives the necessary sense of scale and luminosity for the little guy, and the bottom panel gets you up close and personal with our orange cutie.
We hope to one day see plushies of our glowing little guy in Barnes and Noble.
Speaking of colors, that tends to be another theme in The Object; the deep oranges and reds, colors of rust and dirt and fire, colors of sand and lonely sunsets.
I envision Louisville under the Object as a land of perpetual dusk, where the sun’s light struggles to edge around the massive sphere and climb through alleyways and abandoned roads until the once radiant sunlight crawls as a mere cinderous glow.
The image to the left is one of my personal favorites. It is also the longest, top to bottom, of any image I’ve made so far. This encourages the viewer to “read” the image.
You start at the top, noticing details of some unusual landscape. You continue, slowly realizing that you are looking at the bottom of something, and that the bottom of the image is actually a skyline.
Beyond the flat facts of a picture, though, is something much more important. It’s my opinion that a piece of art should try to evoke some emotion or mood. The best kind of artworks tell a story, raise some questions, and most of all, make you feel something.
The above painting is one of my favorites, for two reasons.
1. It is one of my best works, in terms of technical ability, message and mood.
2. I really love the television trope of “the blind homeless man that somehow knows too much“.
With this piece, I really stressed the feeling of desolation. When looking at this image, I want the viewer to be uneasy. I want them to feel the stillness of mad certainty. I want them to be haunted.
What originally started as a way to play around with some new Photoshop brushes turned into a fully fledged painting, and Winston liked it enough to include it in the story.
When your art can inspire the writing, you know it’s damn good.
That, or you’re working with a truly great writer.
Stay tuned for more awesome posts, and the second part to my introduction, which will show you, step by step, how I create a piece of art for The Object.
If you’d like to see more of my work, click here.
Take care, my friends.
~ Justin ~