FREQUENTLY ASKED QUESTIONS
GENERAL INFORMATION
How do you work?
I work using digital and traditional tools, allowing me to take advantage of the freedom and speed of paper while still enjoying Photoshop's endless editing and adjustment opportunities. I typically start with idea generation, sketching to get my mind and hands warmed up and ideas out onto paper. I create thumbnails to plot an environment or draw up a character in different views to get a feel for their design.
Afterwards, I ink over these loose lines and paint directly on top before scanning the piece and finishing it digitally. Moving into the digital phase, I keep the layer count low and use just a few image manipulation effects to enhance what's already there.
What materials do you use for your work?
I sketch using scalpeled-down Faber-Castell Polychromos coloured pencils and a Rotring 600 mechanical pencil on Canson Sketch or Daler-Rowney Layout paper. The pens I use for inking are the Pilot Hi-Tec-C, Sakura Micron, Uni-Ball White Signo, Fine Point Sharpie, and occasionally greyscale Winsor & Newton Promarkers. I use Winsor & Newton brushes and paints on Arches Hot Press paper for the watercolour wash.
I recently upgraded to the new M1 Max - Mac Studio and Studio Display but had previously used a 27-inch iMac for many years. I use a Wacom Cintiq 22-inch drawing tablet, Adobe Photoshop, an Epson scanner/printer, an MX Master 3S mouse, and a Magic Keyboard.
Where do you find inspiration?
My primary source of inspiration comes from history, as I am fascinated by gothic architecture, period piece fashion, and the strange beliefs of the people at the time. Unusual stories of cursed objects, haunted buildings, or supernatural encounters have always intrigued me and greatly influenced my work. Ancient tales that include witches and vampires are always some of my favourites. I also find inspiration in nature and old buildings as they act as a blank canvas for my imagination to explore.
Who are your artistic influences?
My favourite illustrators are Abigail Larson, Gris Grimly, John Bauer, Cosmic Spectrum, Iren Horrors, Drea.D.Art, Loish, Cyarin, Chris Riddell, and Anne Stokes. These artists capture the fundamental skill and stylised interpretation to a high level using modern techniques to inspire, educate and influence my practice. I also find inspiration from concept artists such as Feng Zhu, Scott Robertson, and Marc Brunet, directors such as Guillermo del Toro, Tim Burton, and Robert Eggers, and brands with alternative designers such as Killstar, Blackcraft Cult, and Akumu Ink.
Golden Age illustrators such as Arthur Rackham, Edmund Dulac, Ida Rentoul Outhwaite, William Heath Robinson, Mabel Lucie Attwell, Charles Gibson, Elenore Abbott, and Milo Winter have always remained within my mind from childhood and fed into how I draw today. Their use of watercolour textures, delicate lightweight, and subtle use of inking to imply detail are breathtaking.
Finally, I can't help but admire the old masters' classical paintings, most notably the work of Henry Fuseli, who painted my all-time favourite piece, The Nightmare (1781). George Roux, Spirit (1885), and John William Waterhouse, who painted The Lady of Shalott (1888). How these artists lived and worked fascinates me and pushes me to strive to become a better artist.
How did you develop your style?
I learned the fundamentals of drawing: perspective, anatomy, colour theory, composition and design. Afterwards, I could do stylised shorthands of these components by breaking the rules in certain places and replacing them with a personal flair that distorted the outcome yet still maintained the foundation allowing me to change things in ways that still hold up. By trying different techniques and mark-making methods, I could see what suited me and what felt uncomfortable; I knew I liked angular lines over softer, rounder shapes, so I started there and continued to develop it over time. Combined with my interest in the spooky and macabre, I got to where I am today.
Where else can I find you online?
My most active social network platforms are:
APPROACH
Do you listen to music while drawing?
I change to different types of music during various stages. I need to concentrate when designing, so I prefer to play ambient background sounds relating to the scene I am working on to help me immerse into the piece without lyrics, not to obstruct my thoughts. Once I am confident with the idea, I will switch to soundtracks from games or films with a bit more musical aspects to them, and once I move onto the final stages, I change to a podcast or play one of my favourite albums.
What is your favourite part of the creative process?
The beginning is often the most exciting part for me. I find researching a new topic and coming up with the initial design and composition of the piece the most exciting; this is when I can sketch very loosely and use my visual library to fill in the blanks. Since this phase concerns the big-picture overview and idea generation, I can avoid getting caught up in details. I do not concern myself with the technical aspects such as perspective, anatomy, or colour theory here (I save them for later), meaning I can quickly brainstorm many ideas to explore new opportunities.
Do you ever get art block?
Yes, I try to get lost in watching films when this happens. So many work collaboratively on films to produce this fully immersive experience that the result is often more breathtaking than a single artist can ever achieve. A film, for me, has everything in one package, from the tiniest details in the title font and song credits to the spectacular special effects teams, the set designers, the costume department, and site scouts who find incredible locations to film. I see an immense level of inspiration from all areas of cinema, which doesn't have to come from the story alone.
EDUCATION
Where did you study?
I studied Game Art BA (Hons) at De Montfort University in Leicester, UK, from 2014 - 2017, where I graduated with a first-class degree. I chose this course as I had heard many positive things about the work the students had been producing and that they taught art fundamentals from the beginning; this allowed me to develop my basic drawing skills, eventually leading to more exciting projects later on. During my second and third years, I moved on to industry briefs on character design, environment, and prop creation, and learning how to 3d model, texture, and use game engines.
In 2022 I began studying Illustration MA (Master of Arts) at the University of Gloucestershire in Cheltenham Spa, UK. I chose this course due to its creative freedom and self-directed approach, which allowed me to focus on developing my art style. Combined with the stunning gothic on-site architecture of the campus and countryside around Cheltenham, it felt like an ideal fit. I plan on graduating in 2024.
ADVICE
These questions relate to helping others improve their drawing through tips and advice based on my experiences and learnings.
Why do I keep hearing about studying fundamentals?
Learning to draw takes time, dedication, and the right attitude. Learning the foundational skills will give you a solid understanding of the essential principles of producing art. Every skill-based industry/discipline has a list of fundamental skills that go with it, from professional athletes to becoming a chess grandmaster or playing a musical instrument. In the following question, I will focus on the primary skills needed by an artist who wants to improve their drawing abilities.
What are the fundamentals of art?
Perspective: Learning how to draw objects in a three-dimensional space that foreshortens correctly and shows depth appropriate to the viewer's position, then using this knowledge to construct a drawing using geometric shapes as the building blocks to produce an object's form.
Anatomy: Understanding how the skeletal structure, joints, and muscles work, drawing them from reference and, eventually, memory. Learning the inside helps you draw the outside by studying which bones affect the surface, which muscles, fat pads, and skin folds lay over it, and where. Gesture drawing helps explain the movement and show motion without your drawings looking stiff.
Colour Theory: Learning the colour wheel, how hue, saturation, and value combine to create different colours, and how colour schemes such as complementary or triad colours can help push art towards the desired outcome. Understanding how tonal values can help describe form changes.
Composition: The ability to position objects in a scene to make it visually attractive, enhance a story, or achieve a specific result using principles like balance, symmetry and the rule of thirds.
Design: Creating something new and original aesthetically appealing to people and using reference by looking at nature or the colours, textures and patterns you see around you.
Can you recommend resources for learning fundamentals?
Not all educational resources work for everybody. Some don't suit your way of learning or engage you fully, regardless of how highly credited they are, so figuring out what works for you is essential. An excellent place to start is usually the products that have stood the test of time or have made a more positive impact than any other. Based on my research, I recommend the following resources. I have no affiliation with any of these.
Broad Overview: Art Fundamentals 2nd edition: Light, shape, color, perspective, depth, composition & anatomy - 3dtotal Publishing
Perspective: How to Draw: Drawing and Sketching Objects and Environments from Your Imagination - Scott Robertson and Thomas Bertling
Anatomy: Figure Drawing: Design and Invention - Michael Hampton
Composition: Framed Ink: Drawing and Composition for Visual Storytellers - Marcos Mateu-Mestre
Colour Theory: Color and Light: A Guide for the Realist Painter - James Gurney
How do I study the fundamentals?
Take time to learn each skill independently; the idea is not to make a pretty project or finished piece to show people; it's just to study and improve by doing the homework. Its an exercise to practice a concept. Imagine how a footballer would have fundamentals in their sport, passing, tackling, evasion of tackles, catching, and kicking. They practice these skills independently to improve.
Please note that any advice or statements are simply my own opinion and it is solely your responsibility to research your educational institution, ways of learning, and career path. Best of luck!
I have tried my best to cover as much as possible, but if you still have questions about me or any of my artwork, please don't hesitate to contact me. You can visit the contact page or send an email directly to me at ash.h.winters@gmail.com. Thank you for reading. 🦇