http://yveline.cgsociety.org/gallery/ yveline's gallery of images en-us 120 http://yveline.cgsociety.org/gallery/569893

Honestly I've never been a landscape person. So I spent a while at the window sketching branches.

I asked myself "what makes a tree real to me?" What makes it alive? What's consistent and random about the shape of the branches? There's so much to be said about using live references. What used to feel like a collection of lines became a more intricate pattern, twisting and turning every which way.

Normally before starting something new, I take some time to thumbnail or draft a composition. A lot of the time the beginnings get covered up to become the actual work, but this go-round my initial plans were very different from the final version.

The original composition included the woodsman's own axe buried in his back (credit: my husband), the work of the fiesty tree spirit. A cool idea, but a.)The more violence a piece has in it, the less the size of the audience it will appeal to. And b.) In blocking out the composition, I thought it didn't create a dynamic enough connection between the characters. The ensnaring vine idea came about 50% of the way thru working, and I think it creates some nice focal lines, while not destroying the message that she's in charge.

It's interesting that this is also the first time I've started a composition in all black & white maybe ever. I put all the color over top in layers later. I kept some things consistent with my normal work practice - I rarely ever have more than 4 working layers in Photoshop at a time, and I only keep them as long as I need them before flattening the image. It makes it feel a bit more like a real canvas, and even though some people might say it's unwise to commit to things during early stages, I find that it gives me much tighter control over the overall color and lighting schemes (read: if I apply a Levels filter, eg., it affects everything instead of one element). If something needs to be taken out, I usually prefer painting over it like I would on a traditional piece than taking out a layer. Not to say that layers are bad, that's just how I work.

Enjoy!

Also, to clear up any confusion, I got married back in July, so I'm using my new last name, Sheppard. Still the same girl!]]> Thu, 06 Dec 2007 19:58:40 +0000 http://yveline.cgsociety.org/gallery/519701

So, the exciting news of the moment is ... drum roll please ... I'm getting married! In May 2008 I'll be Cynthia Sheppard

That said, this illustration was inspired by a number of bridal magazines I've flipped through, stories from the weddingplans LJ community, and all the marriage horror stories people seem to like telling me recently (mostly my single friends).

Yeah, weddings are a big deal and require ridiculous planning, but some people are driven over the edge by them. I thought to myself, what if a bridezilla could step back to see the stress from the outside? It's cute.

What's even cuter is that I stayed up till about 5:30 AM last night finishing this. Artistically I wanted to challenge myself with a composition including a large number of figures interacting in a heavily-lit environment. At first I was thinking of a fashion show's backstage area, but this seemed more on point and in keeping with current events. The figures are all from scratch outta me ol' noodle - In retrospect I think I should have used at least 2 or 3 reference photos for the figure gestures, or gotten someone into the studio and told them to hold still.

btw, who throws a shoe?]]> Wed, 18 Jul 2007 16:04:45 +0000 http://yveline.cgsociety.org/gallery/493772

Ever wonder what your children might look like? What they might do?

If art was witchcraft, this would be a spell for my imaginary (eventual) child's happiness. I didn't even have to tell my boyfriend what I'd done - he recognized the girl's face immediately.

...Which is part of the reason this piece was such a challenge. Everything (except the general shape of the major tree) is straight from brain-to-canvas.

I felt in the beginning like the treeline at left was overworked, and spent so much time fiddling with details that I spat coffee with frustration and almost put this piece down once or twice, but in the end I'm satisfied with the way it came together as a whole.

I've had the pleasure of meeting a lot of very talented fantasy illustrators this past week. I think they inspired the book-cover format, but moreover that's the direction I'm trying to take my work. More illustrative, less of a "fine art" feel. This should come through more in my upcoming work... now to get back to it...

Completed 5/6/07, PS7 w/Wacom.

Slainte,
Cynthia]]> Mon, 07 May 2007 17:30:54 +0000 http://yveline.cgsociety.org/gallery/475954

Wonderland Deconstructed, March 2007, digital painting

"...this is how it is when only alice knows your world is paper houses, how you're scalded by what steams & how kind she looks while everything you knew is washed away." -tyratae

A friend-of-a-friend whom I've never met wrote that poem before this piece was finished, and it rings true to the piece. The interesting thing that she and I have in common is the model I used for Alice. It's a small family in a smaller world, and some people, like this woman who felt the piece as strongly as I do, are much better at using words.

Nothing in this piece is an accident. The model has always keenly related to Alice - chaotic, idealistic-without-foundation, always testing her own boundaries. More than anything, I created this so I could come to terms with and appreciate those qualities in her- to claw beneath layers of discomfort and love her for who she is and who she aspires to be. So I can relate this image to her in my waking mind. I hope she sees something of herself in it too. She said it captured her perfectly.

Technically I approached this in a giant mental canvas before ever laying down the first penstroke. The original inspiration to 'tackle' an Alice in Wonderland theme came weeks earlier from a friend in fashion school who'd asked me to photograph an Alice line she was creating.

I wanted to create a 'calm before the storm' atmosphere, with an ominous sky that still let remnants of blinding sun show through. The houses of cards needed to be carelessly situated but structurally sound enough to still be standing. I used a lot more contrast (huzzah for the levels palette, right?) in this than most of my earlier work.

I hope everyone enjoys it and feels it. This feels like a breakthrough for me.]]> Mon, 19 Mar 2007 14:35:03 +0000 http://yveline.cgsociety.org/gallery/471642

Some believe there's potential that two or more people can share the same dream at the same time. I've tried many many times and it seems impossible, but I'm not one to give up.

This self portrait was someone else's daydream (minus a few details), that has also been a daydream of mine separately (minus different details), and I'm preparing my surroundings for whatever the two of us might fill it with collaboratively in the future.

This is hope for the future.]]> Wed, 07 Mar 2007 18:35:00 +0000 http://yveline.cgsociety.org/gallery/376254

© 2006 Cynthia Rimmer
Illustrated using PS7 w/Wacom Tablet]]> Sat, 01 Jul 2006 12:12:27 +0000 http://yveline.cgsociety.org/gallery/471629

When I chose to leave my band, it felt like removing a series of masks. So much of you is left behind when you walk out onto a stage; You become the image you represent and are forced to abandon your true inner feelings. This work is about becoming whole and true to myself again - an inspirer and a watcher instead of a performer - With a loving hand from my bassist who was there to catch me when I fell too hard.]]> Wed, 07 Mar 2007 18:21:39 +0000 http://yveline.cgsociety.org/gallery/471626

Most of my nightmares involve water; Or places where water is supposed to come from (i.e. shower stalls, bathrooms, swimming pools). This image is an amalgamation of many of those dreams and the feelings harbored because of them, yet the setting is from a particular nightmare.]]> Wed, 07 Mar 2007 18:17:07 +0000