PAJMAG : The studio blogzine of Peter Andrew Jones

What's your favourite picture and book?

http://pajmag.info
"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 10 on drawing)

STYLIZING (& control of pencil point)

13). Straightforward and important!
Now I add the scales to the main body of the Dragon, by just drawing circles/semi-eliptical elements - but, I ensure I turn the paper periodically, as I draw the scales, so the edge of a circle is away from me not near me, this is to ensure I get a smooth and more easily controlled sweep of the pencil point as I draw the edges of the circles.

Get ready for lesson 11!

http://pajmag.info
"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 9 on drawing)

TEXTURING (continued)

12). Using this circular texturing method, go along the linear divisions on the bottom part of the wing, and use this to shade the divisions to give the appearance of small folds of flesh in the wing.

Using this simple technique, you can now roam over the whole wing structure, indeed, as you will see in the next lessons, the entire creature!

Get ready for lesson 10!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 8 on drawing)

TEXTURING (continued)

11). Using the circular strokes of the pencil point, we now proceed to texture the entire wing area. Next lesson, I will show you how to incorporate the linear method also, using both together.

Get ready for lesson 9!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 7 on drawing)

TEXTURING

10). Now we can begin the process of adding texture to the Dragon's wings.
First, to the left, you can see an example of using the circular strokes of the pencil point. To the right/bottom of the wing, you can see a linear method. As we progress, I will show you how to use both together.

Get ready for lesson 8!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 6 on drawing)

COMPOSITIONING

9). I now step back from establishing the character of the Dragon's head as a strong focal point and concentrate on checking over the layout of the overall structure of the entire piece to be sure I am happy with it before committing to a full round of work on it by working on what I call the "circular flow" of the composition, until the structure of it satisfies the concept of "flow".

Here the "flow" can be construed as either flowing from the head out to the body and wings, or visa-versa, from the wings to the head.

I approach this by just applying light pressure to the pencil line work and not pressing too hard on the drawing surface, in case I want to modifying it and need to erase it or part of it.

Because . . . .
being creative, you're bound to have an additional idea as you go along!

Get ready for lesson 7!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 5 on drawing)

MODELING & SHADING

So you have >
1). A basic HB or any other basic pencil (or propelling pencil / biro).
2). Pencil sharpener.
3). A bit of sandpaper.
4). A rubber.
5). Chosen a SUBJECT MATTER (or draw this dragon).
6). Decided on the composition you want (or copy this).
(I am using what I call a "circular flow" composition).
7). You can use the circular composition theme to fashion the shape of the head, stylise the teeth (this drawing is to be "stylistic", not realistic), use the circular theme to draw the scales and the hook of the tongue.

8). You can then use the different PRESSURES / WEIGHT OF LINE you can put on the pencil point to effect emphasis on areas such as the tips of the spines on the Dragon's head, nose and tips of teeth, which will also aid the intention to draw it as a design rather than a realistic rendition of a living creature.

MODELING & SHADING

8). You can now (if you've managed to file your pencil to a long point) use the flat side of the tip to shade areas - here I've concentrated on the spine at the back of the Dragon's head and the hook of the nose, the tongue etc.

Get ready for lesson 6!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 4 on drawing)

So you have >
1). A basic HB or any other basic pencil (or propelling pencil / biro).
2). Pencil sharpener.
3). A bit of sandpaper.
4). A rubber.
5). Chosen a SUBJECT MATTER (or draw this dragon).
6). Decided on the composition you want (or copy this).
(I am using what I call a "circular flow" composition).

MODEL SHADE & TEXTURE
Using the example (the Dragon's head) >

7). You can use the circular composition theme to fashion the shape of the head, stylise the teeth (this drawing is to be "stylistic", not realistic), use the circular theme to draw the scales and the hook of the tongue.

You can then use the different PRESSURES / WEIGHT OF LINE you can put on the pencil point to effect emphasis on areas such as the tips of the spines on the Dragon's head, nose and tips of teeth, which will also aid the intention to draw it as a design rather than a realistic rendition of a living creature.

Get ready for lesson 5!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 3 on drawing)

As a professional Artist, I have my own preferred way of working and attendant materials, preferring 4H & 2B (or even harder & softer!) pencils and high quality handmade papers but, when I started drawing (around the age of seven or so) I had none of those, and used basic "near to hand" materials (which wasn't very much) and so, for this set of lessons, I have chosen the worst type of paper I could lay my hands on (inkjet paper) and a typical general purpose HB pencil, a bit of putty rubber and a standard pencil sharpener and a bit of sandpaper.

So you'll need >
1). A pencil (just basic HB type will do, or any other basic pencil to hand).
       Even a propelling pencil, a biro (yes even that).
2).   Pencil sharpener.
3). A bit of sandpaper.
4).   A rubber.

CHOICE OF SUBJECT / COMPOSITION / TEXTURING.

5). Choose your "A" SUBJECT MATTER (here I will draw a dragon).
     In this case, I will use "B/A" that I call a "circular flow" composition.
     (I will show you other composition concepts much later on).

6). At "C" below, you can see basic ways to >
     Model
   Shade
   Texture
     (I will show others as we progress through the lessons)
     Use PRESSURE "C" of the pencil tip to effect WEIGHT of line.

7). You can use sandpaper to file your pencil to shape the tip.
      (See previous post).
      If you can file a pencil to a sharp point it will be useful for other styles.

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 2 on drawing)

It's April 1st, but this is no joke! Read-on . . . . . .

1). If you'd like to learn some VERY basic drawing skills this will show you.
       If capable of going further and creating your own paint tube/jar etc
       label, hopefully it will encourage you to "have a go" at that.
       If already a very capable Artist, well, you might still find it of use.

       To start, we'll use very basic materials, you'll need >

a). A pencil (just basic HB type will do, or any other basic pencil to hand).
       Even a propelling pencil, a biro (yes even that).
b).   Pencil sharpener.
c).   Sandpaper (or nail file, or DIY metal file etc).
d).   The sandpaper is used to file the pencil to a point (if you wish).

       Get ready to draw!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

SIMPLE DRAWING SKILLS AND TECHNIQUES
(Lesson 12 of 12 on making paint (labels) & lesson 1 on drawing)

1).   and . . . .
12). Lesson 12 (here) is also lesson 1 of the next lesson on drawing.
       If you'd like to learn some VERY basic drawing skills it will show you.
       And, if capable of going further and creating your own paint tube/jar etc
       label, hopefully it will encourage you to "have a go" at that.
       If you are a very capable Artist, well, you might still find it of use.

       To kick-off, here is thumbnail (means tiny) sketch I made to explore
       ideas for a label for my oil paints, (an upgrade to one I currently use).

       Decide of your idea (or copy this) and then . . . .

       Off we go!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 11 of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3).   Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5).   Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6).   Use the knife to gently flick the heaped dry pigment over the oil/hole.
7).   Used the knife to pat, back and forth, the pigment, over the oil."
8).   Continued until you feel it is the consistency you want.
9). Continued adjusting by "Dusting" with the pigment and mashing.
10). Kept mashing oil & pigment until fully mashed ready to use.
11). Now, scoop/scrape the paint into a pile ready to place in a container.
       Scoop small amounts into the tube, get ready to tap!
       If tubed, scoop into same, with the knife, and, with cap on, tap.
       While tube is upright, tap as you add more paint, tap and add.
       Leave enough space at top of tube to allow for folding of the end.
       Use pliers to fold the end of the tube over to seal it.
12). Having filled the tube or other container seal the end tightly.
       Fold two or three times and pinch end tightly to close and seal tube.
       Wipe-off excess paint with a tissue.
13). Thoroughly wipe clean the tube (or whatever you've used).
   Get ready to label the tube.
14). Decided how you want to label the tube.

15). Storage & labeling - There is some evidence to suggest that before
       the invention of metal tubes to store paint sea shells were used.
       If you decide to use same, or some other close to hand alternative
       you can preserve (prevent drying/solidifying) of the paint by placing
       the shell (or whatever) under water, perhaps in a plastic container/bag.
       You can label (indicate the colour content of the tube) by >

       a). Just daubing some paint of the tube and letting it dry, or
       b). Paint a bit of paper and when dry, cut it to shape, and glue it on, or
   c). Getting more creative if you have the skill/desire to do so.

       So - If you fancy creating your own stylish paint tube labels >

       Move to the next blog post on drawing!

Get ready for next lesson!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 10 of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3).   Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5).   Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6).   Use the knife to gently flick the heaped dry pigment over the oil/hole.
7).   Used the knife to pat, back and forth, the pigment, over the oil."
8).   Continued until you feel it is the consistency you want.
9). Continued adjusting by "Dusting" with the pigment and mashing.
10). Kept mashing oil & pigment until fully mashed ready to use.
11). Now, scoop/scrape the paint into a pile ready to place in a container.
       Scoop small amounts into the tube, get ready to tap!
       If tubed, scoop into same, with the knife, and, with cap on, tap.
       While tube is upright, tap as you add more paint, tap and add.
       Leave enough space at top of tube to allow for folding of the end.
       Use pliers to fold the end of the tube over to seal it.
12). Having filled the tube or other container seal the end tightly.
       Fold two or three times and pinch end tightly to close and seal tube.
       Wipe-off excess paint with a tissue.
13). Thoroughly wipe clean the tube (or whatever you've used).
   Get ready to label the tube.

14). Time now to decide on how you label the tube

Get ready for lesson 11!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 9 of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3).   Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5).   Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6).   Use the knife to gently flick the heaped dry pigment over the oil/hole.
7).   Used the knife to pat, back and forth, the pigment, over the oil."
8).   Continued until you feel it is the consistency you want.
9). Continued adjusting by "Dusting" with the pigment and mashing.
10). Kept mashing oil & pigment until fully mashed ready to use.
11). Now, scoop/scrape the paint into a pile ready to place in a container.
       Scoop small amounts into the tube, get ready to tap!
       If tubed, scoop into same, with the knife, and, with cap on, tap.
       While tube is upright, tap as you add more paint, tap and add.
       Leave enough space at top of tube to allow for folding of the end.
       Use pliers to fold the end of the tube over to seal it.
12). Having filled the tube or other container seal the end tightly.
       Fold two or three times and pinch end tightly to close and seal tube.
       Wipe-off excess paint with a tissue.

13). Now thoroughly wipe clean the tube (or whatever you've used).
   Get ready to label the tube.

Get ready for lesson 10!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 8 of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3).   Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5).   Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6).   Use the knife to gently flick the heaped dry pigment over the oil/hole.
7).   Used the knife to pat, back and forth, the pigment, over the oil."
8).   Continued until you feel it is the consistency you want.
9). Continued adjusting by "Dusting" with the pigment and mashing.
10). Kept mashing oil & pigment until fully mashed ready to use.
11). Now, scoop/scrape the paint into a pile ready to place in a container.
       Scoop small amounts into the tube, get ready to tap!
       If tubed, scoop into same, with the knife, and, with cap on, tap.
       While tube is upright, tap as you add more paint, tap and add.
       Leave enough space at top of tube to allow for folding of the end.
       Use pliers to fold the end of the tube over to seal it.

12). Having filled the tube or other container seal the end tightly.
       Fold two or three times and pinch end tightly to close and seal tube.
       Wipe-off excess paint with a tissue.

Get ready for lesson 9!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 7of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3).   Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5).   Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6).   Use the knife to gently flick the heaped dry pigment over the oil/hole.
7).   Used the knife to pat, back and forth, the pigment, over the oil."
8).   Continued until you feel it is the consistency you want.
9). Continued adjusting by "Dusting" with the pigment and mashing.
10). Kept mashing oil & pigment until fully mashed ready to use.

11). Now, scoop/scrape the paint into a pile ready to place in a container.
       Scoop small amounts into the tube, get ready to tap!
       If tubed, scoop into same, with the knife, and, with cap on, tap.
       While tube is upright, tap as you add more paint, tap and add.
       Leave enough space at top of tube to allow for folding of the end.
       Use pliers to fold the end of the tube over to seal it - tightly.

Get ready for lesson 8!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 6 of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3).   Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5).   Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6).   Use the knife to gently flick the heaped dry pigment over the oil/hole.
7).   Used the knife to pat, back and forth, the pigment, over the oil."
8).   Continued until you feel it is the consistency you want.
9). Continued adjusting by "Dusting" with the pigment and mashing.

10). Now, keep mashing oil & pigment until fully mashed ready to use.

Get ready for lesson 7!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 5 of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3). Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5). Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6). Use the knife to gently flick the heaped dry pigment over the oil/hole.
7). Used the knife to pat, back and forth, the pigment, over the oil."
8). Continued to do this.
Adding whatever extent of oil you feel is right for the consistency you want.

9). Continue adjusting for consistency wanted, by "Dusting" with the pigment.
All the time mashing the oil/pigment with the knife.

Get ready for lesson 6!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 4 of 12)

So, far you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3). Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5). Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6). Use the knife to gently flick the heaped dry pigment over the oil/hole.
7). Used the knife to pat, back and forth, the pigment, over the oil."

8). Continue to do this.
Add whatever extent of oil you feel is right for the consistency you want.
All the time mashing the oil/pigment with the knife.

Get ready for lesson 5!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 3 of 12)

So, if you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3). Tipped enough pigment on to the plate that would fill a small paint tube.
4). Made a hole in the middle of the pigment pile.
5). Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6). Use the knife to gently flick the heaped dry pigment over the oil/hole.

7). Now use the knife to pat, back and forth, the pigment, over the oil.
All the time mashing the oil/pigment with the knife.

Get ready for lesson 4!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 2 of 12)

So, if you've" >

1). Bought raw pigment.
2). Obtained a glass plate of any sort.
3). Tipped enough pigment on to the plate that would fill a small paint tube.

Now >
4). Make a hole in the middle of the pigment pile.
5). Tip Linseed Oil (or Poppy seed, sunflower, or Safflower oil) into the hole.
6). Use the knife to gently flick the heaped dry pigment over the oil/hole.

Get ready for lesson 3!

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)
(Ways to make being creative simple, straightforward, & personal)

MAKING OIL PAINT (Lesson 1 of 12)

Quite often, people come up to me, when I'm out working "En Plein Air" and ask "what kind of paint is that?"

The simple answer is OIL PAINT which I make myself.

The usual reaction is "that must be quite difficult".

It isn't.

Yes, you can make it more complicated than basic, and granted, I make all sorts of variants using various additives and pigments I use vary from dirt cheap ones to very expensive types in use since at least Renaissance times, the choice governed by what I want the paint to be like rather than what it costs, though always, always, I only use quality pigments and a trusted supplier (see below).

So, this series of posts shows you a simple basic way to make your own oil paint without unnecessary equipment and purchase of same (though you will need to buy the pigment of course).

So, to kick-off >

1). Buy some raw pigment (I've used Cornelissen since art school in 1970).
2). Obtain a glass plate of any sort (square, round, clear, patterned etc).
3). Tip enough pigment on to the plate that would fill a small paint tube.
Note: you won't need paint tubes but if you want one, try Cornelissen.

Get ready for lesson 2!

"BLAST FROM THE PAST"

Re-post of somebody's post on >
"FLIGHTS OF THE FANTASTICAL:
SCIENCE FICTION AND FANTASY ART"
Facebook group.

"WEBSITE UPDATE"

Newly scanned . . .

and uploaded to website.

http://www.peterandrewjones.net/paintings_science_fiction/swa137.htm

"BLAST FROM THE PAST"

Master of Darkness (detail - in response to a Facebook post from a collector.

"Working with Joe Dever, the award-winning British gamebook creator (and the first British winner of the Advanced Dungeons & Dragons Championship of America in 1982) was terrific fun and I enjoyed many positive, creative, and mutually inventive discussions concerning cover art for his books.

"He created the fictional world of Magnamund as a setting for his Dungeons & Dragons campaigns and 1984 released the first book of his Lone Wolf series of young-adult gamebooks, a series that sold over 10.2 million copies worldwide, and later, called by him to help bolster difference in sales figures between covers I was supplying to Editions Gallimard in Paris and lesser sales from his UK publisher, I took over providing cover art for the UK series and we enjoyed both the creative and commercial process of looking to level-up the disparity.

It worked very well, but later, he experienced awkwardness with his publishers as the market for printed game books began to contract in 1995, and publication thus ceased in 1998 before the final four books (numbers 29-32) were released.

It was with sadness that I then did not get the create the final covers and I found myself pursued by publishers of the expanding computer games market.

"BLAST FROM THE (recent) PAST"

Reply to somebody's post on >
"FLIGHTS OF THE FANTASTICAL:
SCIENCE FICTION AND FANTASY ART"
Facebook group.

"BLAST FROM THE PAST"

Re-post of somebody's post on >
"FLIGHTS OF THE FANTASTICAL:
SCIENCE FICTION AND FANTASY ART"
Facebook group.

"THE VIEW FROM THE STUDIO"

Storms : Rain : Wind : Gales : Snow : Hail

Gone (at least for the moment)

"BLAST FROM THE PAST"

Re-post of somebody's post on >
"FLIGHTS OF THE FANTASTICAL:
SCIENCE FICTION AND FANTASY ART"
Facebook group.

"BLAST FROM THE PAST"

Response (close-up)n to somebody's post on >
"FLIGHTS OF THE FANTASTICAL:
SCIENCE FICTION AND FANTASY ART"
Facebook group.

"CURRENT NEWSLETTER"

This month's = Available now.

Go here to subscribe >
http://peterandrewjones.net/lists.htm

"THIS MONTH'S NEWSLETTER"

This month's = Available now.

Go here to subscribe >
http://peterandrewjones.net/lists.htm

"THE VIEW FROM THE STUDIO"

Storms : Rain : Wind : Gales : Snow : Hail

Snow - again!

"THE VIEW FROM THE STUDIO"

Storms : Rain : Wind : Gales : Snow : Hail

GONE (for now . . . . . . ?)

"THE VIEW FROM THE STUDIO"

Storms : Rain : Wind : Gales : Sunshine! (momentarily) : Now Snow.

NEXT?

"THE UNSEEN WORKS"

This year, we begin delving deep, deep into the Artist's archive, unearthing hitherto unseen works, buried in portfolios, plans chests, cupboards and drawers, some not having seen daylight since the year they were created, a long, long, long . . . . time ago.

(and working on a new volume (3) of the "Solar Wind" book . . . . . .)

Enjoy.

"BLAST FROM THE PAST"

Response to somebody's post on >
"FLIGHTS OF THE FANTASTICAL:
SCIENCE FICTION AND FANTASY ART"
Facebook group.

I LOVE playing with variations on a theme!

Perry Rhodan 15
Publisher: Orbit; reprint edition (1976)
Language: English
ISBN-10: 0860078957
ISBN-13: 978-0860078951

"BLAST FROM THE PAST"

Did you guess?

Part of how it all began . . .

"UNK"
(unk was a sound emitted by Aliens when attempting to contact Earth).

A 1972 self-published comic envisioned (48 years ago!)
by Trevor Goring at St. Martins School of Art in 1972
and created by >

Artists >
Terry Frost
Trevor Goring
Peter Andrew Jones
Paul Simmons

(c) Copyright UNK publications 1972.

"BLAST FROM THE PAST"

Can you guess?

Yes / no ?

"BLAST FROM THE PAST"

Response to a Facebook poster >

Herewith full shot.

"IN THE STUDIO TODAY"

A bit of pre-exhibition framing.

Close-up shot for a future show.

"IN THE STUDIO TODAY"

A bit of pre-exhibition framing.

Planning ahead for a future show.

"THE VIEW FROM THE STUDIO"

Last night's spooky evening sky.

Beautiful!

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

and Bill Thom
http://messagesfromcrom.blogspot.com/2019/05/theart-of-robert-e.html

It is very wrong to think that Peter Andrew Jones made a name for himself at the end of the last century and his legacy got stuck there! Behold, in this digital age, his artworks are often referenced by fans marked by his art in the old days.

For this month we brought a recent post by Bill Thom in his blog.
(Part 1).

Orbit Books
Three-Bladed Doom (1977)

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

and Bill Thom
http://messagesfromcrom.blogspot.com/2019/05/theart-of-robert-e.html

(Part 2).

Thom begins his text with a brief biography of PAJ (very similar to wikipedia) https://en.wikipedia.org/wiki/Peter_Andrew_Jones to then separate and make available the arts used for the covers of the famous Robert E. Howard's books, which will be reviewed here on the blog in the future.

Orbit Books
Son of the White Wolf (1977)

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

and Bill Thom
http://messagesfromcrom.blogspot.com/2019/05/theart-of-robert-e.html

(Part 3).

This text is the third part of a complete text that Thom developed since 2018. We are very happy to know that his blog, active since 2012, has dedicated a full page to PAJ, which still enchants and inspires fans and future artists.

Panther Books
The Dark Man Omnibus Volume 1
(November 1978)

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

and Bill Thom
http://messagesfromcrom.blogspot.com/2019/05/theart-of-robert-e.html

(Part 4).

I hope include other websites with posts talking about PAJ's art to diversify my posts (I usually alternate sci-fi with videogames, and rarely include something different from card games, RPG or gamebooks).

Thank you for reading (and muchthanks to Bill Thom).

Robert E. Howard Omnibus (1977)

"LEGENDARY ART GALLERY - WINTER SHOW 2020"

http://pajart.net

Enjoy

:)

PAJ

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, 8th and final image, preliminary uploading.

Nearly ready to release show!

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, 7th image, preliminary uploading.

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, 6th image, preliminary uploading.

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, 5th image, preliminary uploading.

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, 4th image, preliminary uploading.

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, 3rd image, preliminary uploading.

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, 2nd image, preliminary uploading.

"LEGENDARY ART GALLERY"

Putting together a new show.

Stage one, first image, preliminary uploading.

"THE VIEW FROM THE STUDIO"

Sometimes, all I can say is >

Beautiful!

"THIS MONTH'S NEWSLETTER"

This month's = Available now.

Go here to subscribe >
http://peterandrewjones.net/lists.htm

"THIS MONTH'S NEWSLETTER"

This month's = Launching now.

Go here to subscribe >
http://peterandrewjones.net/lists.htm

"HOW NOT TO PAINT AND DRAW"
(Like anybody else)

RAW BEGINNINGS

A mere one hour into a new painting.

And . . . .

The white spirit and the linseed oil are competing for dominance, thicker and thinner applications, thin wash and more opaque daubing, created an opportunity to fly off at a tangent from what I had originally conceived for the figure in the piece.

Instead, I additionally applied areas of pure white spirit, to deliberately disrupt the carefully constructed and planned facial and anatomical construction, allowing deliberate dis-figuration of the figure to occur.

This has suggested I can now use the new unplanned and spontaneous appearance of the figure to create a figure (characterisation) that can have an appearance I would not have ever thought of.

There's a looooong way to go, but I already like the direction of travel so far!

Possibilities!

"THE VIEW FROM THE STUDIO"

Flood.

Not a great quality photo (long range) but shows the issue.

Thankfully, in this season of storms and excess rainfall, the studio has gotten off lightly, but even across the way, just one street away, the flatter end of town, with a field area, has flooded.

No idea at this stage if friends/neighbours have suffered flooding.

"IN THE STUDIO TODAY"

Very early preparations for future exhibition.

Framing, embellishing, labeling etc.

"WEBSITE UPDATE"

TALES FROM THE WOOD - THE MAGIC GARDEN

"Wings Glinting in the Sun".

http://www.peterandrewjones.net/paintings_science_fiction/swa610.htm

Acryloil painting from the book.

"LEGENDARY ART MAGAZINE"

Winter issue now available.

And, preparations begin, right away, for the Spring issue!

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://pajmag.info/blog-sa.htm

"LEGENDARY ART MAGAZINE"

Winter issue now available.

And, preparations begin, right away, for the Spring issue!

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

Gauntlet III: The Final Quest is a computer game from U.S. Gold and Tengen, released in 1991 for the following consoles: Amiga, Atari ST, Commodore 64, ZX Spectrum and Amstrad CPC. This game would then inspire Gauntlet Legends.

Besides the four main characters of the game - Thor, Thyra, Merlin and Questor - you can also choose other new ones: Petras (a rock man), Dracolis (a lizard man), Blizzard (an ice man) and Neptune (a merman). Gauntlet III: The Final Quest also allows a mode for two players.

Its plot takes place in a land called Capra, the scene of many wars between its kingdoms. One day, a wizard named Magnus managed to establish peace. To ensure his conquest, he created a door into the dark dimensions from which the bad things would come if there was a new period of chaos in Capra. In this way the velcrons reached the kingdoms under the command of King Capricorn, who arrested Magnus. After plagues and hatred took over the kingdoms, eight champions came to try to put an end to the dark times of the corrupted kingdoms.

The player walks through several areas of each kingdom, which are 40 areas in total, ranging from dungeons, forests and castles, all of them similar to labyrinths. Each area has a passage to the next scene, and sometimes the player needs prerequisites in order to advance to the next area. A hand appears from time to time holding a reminder of what the player should do. Another feature in the game is a combination of lock code. With it, the player must consult a code wheel that came with the game, necessary to open certain doors, technique that would prevent the piracy of the game, employed in other games later.

The enemies of the hero come mainly from generators, which need to be destroyed to prevent the creation of new enemies. There are also several items such as potions that make enemies disappear or weaken, good or poisonous food, amulets of invincibility, treasure chests and traps, among others.

The graphics are great for that time, but there is little variation between scenarios. The soundtrack is also another strong point of the game.

The game received reviews and published advertisements in magazines such as ACE, Computer & Video Games, Crash, MicroHobby, Sinclair User, The One and Your Sinclair, receiving great reviews from critics.

Peter Andrew Jones managed, in his cover art, to employ his Fantasy Art style in the most attractive way, doing justice to the game: the red dragon on Capra (in the shape of a skull) seems to control the kingdoms with bolts that spread the disorder, which reach even the most distant lands in the world, as can be seen in the mountains in the background. How can we refuse a game like this? The expectation was created and fulfilled: top art for a top game.

"LEGENDARY ART MAGAZINE"

Winter issue now available.

And, preparations begin, right away, for the Spring issue!

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

Edward Elmer Smith - Throughout his writing career, Smith preferred fictitious technologies that were not strictly impossible for the science of the time, but highly unlikely. He was included in the Science Fiction and Fantasy Hall of Fame in 2004.

Peter Andrew Jones in many opportunities shows us some of his artworks in various cover illustrations for Doc Smith's books. He is the perfect choice to transpose from textual to visual, as he seems to follow Smith's style by preferring to portray "fictional technologies not strictly impossible, but highly unlikely," with distinct mastery.

(see previous entries dated 7 & 8th).

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

Edward Elmer Smith - After college, E.E. 'Doc' Smith was a junior chemist at the National Bureau of Standards in Washington, D.C. One night, in 1915, Smith and his wife visited a former classmate at the University of Idaho (where Smith studied), Dr. Carl Garby. They talked a lot about space travel and it was suggested that Smith write down his ideas and speculations as a story about interstellar travel, but Smith, even interested in this project, believed that if he published his writings, publishers could ask him for additions of romantic elements, which he would not want to do. Garby's wife decided to produce the romantic parts of the works if requested. That's how the series "Skylark" was developed, but stopped, then resumed, published, and, after rejections and corrections, became a great success. Smith's main influences were writers such as John W. Campbell, L. Sprague de Camp, Robert A. Heinlein, Murray Leinster, H. P. Lovecraft, A. Merritt, C. L. Moore, Roman Frederick Starzl, John Taine, A. E. van Vogt, Stanley G. Weinbaum, Jack Williamson and Edgar Rice Burroughs.

Doc Smith stands alongside Stanley G. Weinbaum and Robert A. Heinlein as the great renovators of science fiction of them time. Heinlein even credited him for being his main influence. Smith was widely read by scientists and engineers from the 1930s to the 1970s, as well as influencing great writers and screenwriters such as Randall Garrett, Harry Harrison, Arthur C. Clarke, Steve 'Slug' Russell, George Lucas, J. Michael Straczynski, Jerry Siegel, Paul Malmont, Robert A. Heilein, Christopher Nuttall, among others.

(continued in the 9th blog entry).

"0 BLOG DO ESTUDIO"
Blog article

by Pedro Panhoca, our Brazilian game development partner >

Enjoy his full blog @

http://www.peterandrewjones.net/blog-sa.htm

Edward Elmer Smith - better known by his pseudonym E.E. 'Doc' Smith - was born in Sheboygan, Wisconsin on May 2, 1890 and died on August 31, 1965. He was a food engineer and author of science fiction, sometimes being considered the inventor of space opera.

Doc Smith was a manual laborer until he injured his wrist at the age of 19. He graduated in Chemical Engineering having been president of several types of clubs and associations throughout his life. He got married to Jeanne Craig MacDougall, his college roommate’s sister. They had three children.

(continued in the 8th blog entry).

"A WINTER'S PALETTE"
(Extract from Legendary Art Magazine)

A bright winter's morn.

Winter is not always grey.

This morning's scene suggests a LIMITED PALETTE of >

PHTHALOCYANINE BLUE
CADMIUM YELLOW LIGHT
BURNT UMBER
(and perhaps added red and white)

A mixture of Burnt Umber and Blue will give a "warm black" for the depths of the foliage and the yellow and blue will of course create a green which can in turn be varied for the bluer areas of the foliage to the warmer areas until advancing areas towards the eye in the very bright, almost but not quite, yellow leaves.

The tree trunk is mostly brown with blueish and yellowish areas, although an added small touch of bright red might be an advantage if you want to bring out the subtle contrasting between reddish and greenish variations in the bark.

For the almost white spots? Either allow white primed canvas/panel or watercolour paper to show through or add white as an extra colour to the palette.

"A WINTER'S PALETTE"
(Extract from Legendary Art Magazine)

A dull, perhaps somewhat bleak, winter's day.

Offering the suggestion of a muted palette of Grays.

Perhaps Payne's Grey?

PAYNE'S GREY offers a somewhat less full-on blunt alternative to basic blacks being slightly paler and with slight suggestion of a warmer nature.

Said by some to have been originally composed of a blend of Iron Blue (Prussian blue), Yellow Ochre and Crimson Lake, paint manufacturers now seem to offer versions varying from being mixtures such as Ivory Black, Ultramarine Blue and Iron Oxide Yellow, or Ultramarine or Phthalocyanine Blue and a Black or Ultramarine and Burnt Sienna, and if you make your own Oil Paint as I do, you can of course vary the extent to which it is either more, or less, of either of the pigments of (your) choice and to be either a cooler or
warmer variation.

And . . . . you could even add a non-typical extra colour -
a "Payne's Grey variant".

And, you can shift and change your preference accordingly if using the surrounding world as your suggestion for a palette.

This way, your palette is entirely yours - unique.

"WELCOME!"

We are now in full go-mode!

THE STUDIO BLOG HAS MOVED HERE IN JANUARY 2020 >

http://pajmag.info

Prepare to be enthralled!

You can still access the main website here >

http://www.peterandrewjones.net/iacg.htm

and join the mailing list here >

http://www.peterandrewjones.net/lists.htm

"WELCOME!"

To a new home for our blog!

Don't hesitate!

THE STUDIO BLOG HAS MOVED HERE IN JANUARY 2020 >

http://pajmag.info

You can still access the main website here >

http://www.peterandrewjones.net/iacg.htm

and join the mailing list here >

http://www.peterandrewjones.net/lists.htm

"WELCOME!"

To a new home for our blog!

THE STUDIO BLOG HAS MOVED HERE IN JANUARY 2020 >

http://pajmag.info

Over years, and years, and yes, even more years, "stuff" just built-up and got too complex to manage, absorbing server space.

You can still access the main website here >

http://www.peterandrewjones.net/iacg.htm

and join the mailing list here >

http://www.peterandrewjones.net/lists.htm