ZEBROID CROSSING (2018) by Michael Whelan, the third installment in this year’s LEFTOVERS & PALETTE GREMLINS gallery project.
A smear of acrylic paint on my palette looked kinda like some sort of alien animal to me, so…
Source: michaelwhelan.com
ZEBROID CROSSING (2018) by Michael Whelan, the third installment in this year’s LEFTOVERS & PALETTE GREMLINS gallery project.
A smear of acrylic paint on my palette looked kinda like some sort of alien animal to me, so…
Source: michaelwhelan.com
LIGHTSEEKER (2018) by Michael Whelan, the second installment in his 2018 gallery project.
It’s a big idea on a small scrap of canvas!
A couple of months ago, I glanced down at canvas on the floor as I walked by. It was just a scrap cut off a print, but I couldn’t shake the vision it evoked in my mind.
Afraid I might forget, I sketched it out in charcoal then sprayed it with clear gesso to fix the drawing. In all my years painting, I’ve learned not to question an idea that calls to me like that—just execute it and figure out what it’s all about later.
Later that evening as I was cleaning up from another project, I roughed in the image using leftover acrylics on my palette. Then a couple week ago, I went back over it, only fiddling, leaving it sketchy instead of turning it into a finished rendering.
It’s essentially done in three colors: cobalt blue, raw umber, and Payne’s gray, with a touch or two of burnt sienna. The little figure is only ¼" in height, rendered with a tiny Japanese modeler’s brush given to me by Jordu Schell.
I believe now that I was seeking to escape from that other project.
Source: michaelwhelan.com
HIGH WEST WIND (2017) by Michael Whelan, the twelfth installment in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project.
This started as a collection of brushstrokes on palette paper while working on a Lovecraft painting.
Source: michaelwhelan.com
RETURN TO MELNIBONE (2017) by Michael Whelan, the 10th installment in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project.
Both a leftover AND a palette gremlin—the purest combination that I’ve done so far. With oils left on my palette, I painted over shapes on an old illustration board. As soon as I started to lay the color on it, I was thinking of the ruins of Melnibone.
Source: michaelwhelan.com
THE LOST CITY (2017) by Michael Whelan, the 8th installment in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project.
A board used as a palette which became a scene reminiscent of a Lovecraft story…but not so much of a palette gremlin as a palette snowscape.
Source: michaelwhelan.com
DARK FORTUNE (2017) by Michael Whelan, installment 7 in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project.
A dark smudge on palette paper suggested a hooded figure…and it turned into the Man in Black.
Re-blogging with Michael’s commentary from Facebook:
The back side of the paper had an interesting look to it too [I thought maybe it could turn into the Plain of Gorgoroth] but I chose to fiddle around with the other side instead.
(via theartofmichaelwhelan)
Source: michaelwhelan.com
DARK FORTUNE (2017) by Michael Whelan, installment 7 in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project.
A dark smudge on palette paper suggested a hooded figure…and it turned into the Man in Black.
Source: michaelwhelan.com
THE GREEN WOMAN (2017) by Michael Whelan, the sixth installment in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project.
The first bonus image shows the orientation of the original board as I was holding it while mixing colors. When I turned it sideways, I saw a face in the smear of green paint.
My sense of the developing figure was as a kind of fortune teller “reading” a gold or brass egg. Perhaps the egg is a subconscious reference to the Phoenix myth. I confess that I was listening to an audiobook of Harry Potter and the Chamber of Secrets while working.
Interestingly the brushstrokes where her hair would be became feathers. Surely Faulks slipped into my head then to inspire the painting.
Source: michaelwhelan.com
BACK IN HIS PLACE (2017) by Michael Whelan, the fifth installment in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project.
Don’t let the dominating presence of this tiny diva fool you. Her head is less than 1/8". Like many of my palette gremlins, this is a small piece. The bonus images below offers some context.
I mixed the reds on this palette for the sky in my recent OATHBRINGER cover illustration.
Source: michaelwhelan.com
TWO FACES (2017) by Michael Whelan, the 4th installment in his 2017 LEFTOVERS & PALETTE GREMLINS gallery project. Two faces painted on a scrap of mat board used while painting the cover art for Brandon Sanderson’s OATHBRINGER. The scrap is an odd shape, not rectangular (see bonus images below).
Source: michaelwhelan.com
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