Features | |
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Last Airbender |
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Grey's Anatomy Promo VFX |
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Interview with Bobby Chiu |
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License to dream |
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Focus : Gears Of War 3 |
News Headlines | |
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Dragon Age 2 |
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Bioshock Infinite |
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Time travellers Comic |
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Envirometer |
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Thelma and Louise Remake |
Other Features | |
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Interview With Nick Harris |
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Making Art for Ipad |
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Making VFX for Ben Hur Remake |
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Interview : Mike winkelmann |
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Baby Data |
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AR: Well, I believe it was, and is, the ongoing attempt to get better at what I do. When I look back at the paintings I did 5 years ago, I feel good about myself because the improvement is there. It’s a great sense of fulfillment. However, as I continue to learn more I also realize how little I know. But, as someone said, “It doesn’t matter how far you get. It’s the way you get there that matters.” One important thing that helps me keep this drive is to see how some of the best digital painters out there do what they do best. They somehow set the mark and each day I am surprised by new artwork being produced, it completely blows me away. My many thanks to all the artists out there!
IA: Do you think it’s changed since these past years?
AR: Yes, I think it has changed. As I refine and explore new techniques my style naturally changes and evolves. I also seek out different things to portray. In the beginning it was mostly erotic and character work but over the years I began to paint environments or scenes that would tell a story.
IA: When looking carefully your work it seems you pay a lot of attention to light, is that the case?
AR: I don’t think I do that intentionally. What I mean is, while I do play around with it, I don’t put an extra effort into it. It is something that has evolved over the years. In the beginning, there was one light source and the resulting light hitting the object thus creating a shadow. Over the years I became more aware of the color of light and shadow, reflected light, various intensities of light, different light sources with different resulting cast shadows, self-cast shadows, the different surface properties, etc. As you paint over the years, your observation also gets more acute and you start noticing things that were there before but not to your eyes.
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A: Can you speak about an ordinary creative day?
AR: Hmm…I think it is getting up early in the morning, having breakfast and going to the computer right away. I like to work early. Then I will think about the subject being portrayed; however, unless there is a specific brief, this idea can be very vague. It gets defined once I start putting marks on the canvas. I try to explore the same subject in simultaneous paintings, where I vary colors, light, mood, perspective, etc. As I go along with the painting, I look for references that will help me better understand and portray what I am painting. I try to make regular intervals so I look at the painting with “fresh eyes” and do other activities in the middle, like reading a magazine, making lunch or watching excerpts of my favorite movies. When the day is over I can’t really judge if it was productive or not, but good night sleep will certainly help analyze what I did the day before.
IA: Who are the artists you would like to work with? Why?
AR: I don’t know if there are particular artists I would love to work with. There are lot who I would like to learn from, such as Iain McCaig, Yannick Dusseault, Jaime Jones, Khang Le and Seth Engstrom to name but a few. I don’t know how they are in person, but their array of work is really something to behold. As for someone to work with, I believe I would like to work with someone who was more or less at the same level I am so we could share experiences and trade opinions.
IA: Can you tell us about your work that you’re the most proud of? Why?
AR: I believe it is my latest work, “One Ticket, Please,” because it is the first time that I put something really personal into a painting. It is related to a visit to a fun fair in Lisbon when I was about 9 years old and going on the Ghost Train ride. I insisted on going alone but as I entered the dark tunnel and saw the old puppet witch laughing I cowered in the wagon and closed my ears until the end of the ride. I was really scared. I took that experience and translated it into a fantasy scene in a dark city street alley. I am quite happy with the result because when looking at the painting I feel what I wanted to transmit.
