Years ago, I had Painter 9 for my older Power Mac G4 desktop tower and enjoyed it, however it had an antiquated brush engine that lagged badly especially for inking sequential art until Clip Studio Paint came along which saved me a lot of trouble. The original CSP I had was entirely in black and white and then they released a color engine with new brushes that rendered Photoshop and Painter almost pointless with a focus on comics and fantasy illustration. It was a godsend. That is, of course, until Procreate arrived for the iPad Pro market that became a very strong contender, impressing me big time. Recently, I downloaded a trial version of Corel Painter 2019 and thought they did such a nice job fixing the brush engine and it shows. I’ve had no trouble using the brushes on my 2010 iMac workstation with my Wacom Intuos4. However the tablet didn’t have multitouch which made the process very awkward, now that I’m so used to my iPad Pro’s workflow. I’m seriously contemplating replacing my Intuos with a new Wacom 16 inch Cintiq or an XP-PEN tablet which is a bit cheaper and gets the job done although I’ve never seen or used their products before. I need to make sure my iPad Pro to desktop flow goes smoothly with multitouch so I can use the tools better because the Intuos 4 does tend to put a crimp to the projects. Corel painter 2019 is a big update and quite expensive, however it’s UI layout made it a bit awkward to switch around brushes and other functions despite the short keys that are available. The art in the following photos I did are not meant for finalization but as a test drive on the software. I’ve had less than a few days in the trial and just wanted to experiment with it out of curiosity. I do recommend Painter for those who are used to the interface and have experience in the painting realm. For now, I’ll be sticking with Clip Studio Paint, Procreate, Paintstorm, Sketchbook Pro and Concepts as my main tools of choice.
My Oni Demon illustration is now available as an art print and poster on my Society6 store. I finally got around to fixing the resolution size from the iPad Pro to fit in a Photoshop document and adding text from a famous Musashi quote from The Book of Five Rings. As a fencer and martial artist myself, I find the supernatural Oni mythology to be quite fascinating and think the imagery of a Hannya half mask used by samurai is so cool. It's one of the reasons I airbrushed my fencing mask to kind of simulate that level of badassery.
I've been experimenting with Clip Studio Paint that's a full version, paid by monthly subscription, on the iPad Pro which is really amazing and useful. It's especially great now that Celsys has lowered the price of the iOS version so that it's more manageable for the budget and keep on using it. Lately, I was getting into the japanese oni demons and wanted to tinker around with the tools of CSP to see how I can work with the layers in order to observe how closely it behaves compared to the desktop version. Incredibly, it is literally the exact same thing and ports over native files well enough through Dropbox, in my case, however I found uploading the image to the CSP cloud via iPad Pro to the desktop a bit of a problem but I'm sure there's a way to do it on the Mac platform.
It is nearly completed as I've to fix a few areas before adding the text quote marks in the negative space and consider having it available as a printed piece, probably on Society6. I believe with more experience on this particular platform, it would make it easier to work around the UI and workflow process more seamlessly. I'm really liking CSP on mobile so far.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
I've been hard at work on this piece which was created using Manga Studio software and Adobe Illustrator, for other elements to add in, at the original size of 10 by 15 approximately. This illustration is now available on my online store at Society 6.
This illustration of the 'God of Epee' is based on the ties between classical and modern fencing throughout history. It represents the fictional patron god of this weapon class with the latin motto: Virtus, Scientia, Fortuna that translates to Valor, Skill and Fortune respectively. The idea is to honor the concept of Master to Apprentice with the knowledge of fencing being passed on, not too different from the other crafts in the Arts or any other related field.
And so this patron god bestows the powers of mastery or becomes the 'idealized gold standard' in the history of Rapier sword-fighting that was the basis for the Epee weapon of today's modern fencing.
The other intention that may not be obvious to some with a keen eye is the use of a hidden Masonic symbol. One can seen the rays shooting down past the war banner with the spears. The light rays represent the Compass while the Spears on the banner represent the Ruler, therefore that becomes a hidden composition for this famous symbol seen below:
It's especially interesting that the Freemasons employed the use of the Master and Apprentice ( or Entered Apprentice until promoted to Master Mason as the highest ). Not only that, back in the renaissance, there were craftsmen employed in many skills from the arts in visual, music, black smithing, tailoring, and many more. Of course, fencing masters were also around at the time and had apprentices to pass their knowledge down to and this ancient art of defense is still ingrained into the modern sports of fencing, but also in other branches of Historical European Martial Arts or Re-enactment groups in choreographed duels.
I plan on having two more patron gods of fencing in the near future in Foil and Saber.