Tag: gel

  • Swamp Fugue

    Swamp Fugue

    Continuing my focus on folklore and eldritch horror within deep forest environments, this piece moves into a dense, swampy green fugue. The scene is framed by heavy, twisted trunksโ€”ancient, highly textured sentinels that act as a visual boundary looking out toward a distant clearing.

    Deep in the mist, a lit shack casts a warm, unsettling glow against the cool pale sky, drawing subtle, hooded figures through the woods toward whatever gathering awaits. Suspended in the midground, bound tightly around the branches of a gnarled tree, is a stark crimson ribbon. It is a deliberate, unnatural mark cutting through the wild green overgrowth. Whether it serves as a boundary, a remnant of some forgotten ritual, or a subtle signifier of the strange, ancient presences that drift through these woods, its true purpose is left unsaid.

    Technically, Swamp Fugue was worked on cold press paper using a combination of Faber-Castell Pitt pens, Staedtler fine liners, and Staedtler pigment pens. I used the fine liners to build the dense, organic contour lines that give the bark its heavy, ridged texture, while layering Pitt pen washes to establish the murky, moss-toned atmosphere. The fine stippling in the upper canopy allows the pale mist to hum with static, balancing the sharp, linear detail of the grass and foreground roots.


  • Frenetic Canopy

    Frenetic Canopy

    I wanted to move away from the quiet, still qualities of a traditional landscape and focus entirely on energy. Nature is rarely static. It is constantly growing, decaying, and shifting. This piece was a deliberate experiment in capturing that hidden, frenetic activityโ€”making a forest look as though it is writhing and moving right in front of you.

    Technically, this required a dense orchestration of different tools and medium behaviors on smooth hot press paper. I built the surface using a heavy blend of Faber-Castell Pitt pens, Staedtler pigment pens, acrylic pens, and Sakura gel pens.

    The process was rhythmic and intense. I used the fine precision of the Staedtler pens to create an intricate web of overlapping, high-contrast lines for the undergrowth and the tree trunks. The fine, colorful lines slashing through the foliage were accomplished with Sakura gel pens, giving those bright accents a sharp, clean edge. Instead of blending colors smoothly, I relied on rapid dashes and tight clusters of stippling with the acrylic and Pitt pens. By placing contrasting tones directly side-by-sideโ€”the electric greens against the deep purples and warm ochresโ€”the canopy begins to optically vibrate.

    It is a chaotic way to build a landscape, but letting the marks layer over one another without correcting the friction gives the piece its pulse. It records the grit and the constant motion of the woods rather than a sanitized portrait of them.