Contact me: JordanSliz@gmail.com

Illustrations

Tear the Blood

So, my friends have gotten me into Magic: The Gathering, by the ever-amazing Wizards of the Coast, over the last few months, and when I wanted to do a full-tilt illustration to break up my character modeling drive, the obvious choice was to learn from the greats and take a whack at a Magic card illustration. I play a black vampire deck, so this is for a black mana, instant spell I made up called “Tear the Blood.” Make sure to click through to the high-res version. If anyone would like to see process work on this, shoot me an email.


In the meantime…

Hey, guys. It’s been a few weeks, since I’ve posted. I’ve been wicked busy, working on multiple characters at once, trying to get my reels together.

But, in the meantime, I’ve thrown down a couple of paintings to break up the pattern for myself and get it fresh. Here’s a 5-hour speedpaint I did, no photo-manip, straight from head to canvas. It’s always so refreshing when something comes out the way you felt it should. I’ve been learning so much more about technique these last few weeks. I feel like I conveyed a depth in the painting that has been absent in my others. It’s called “A Long Way Home.” More to come, soon.


The Cavalry Arrives

After playing through Mass Effect for the second time and Halo: Reach for the fourth time, and watching the new Star Trek, all in the course of two weeks, I decided it was time to put together a painting of space warfare! It started out as a simple thing, but soon evolved into a complete geek-gasm all over the canvas. I think my inspiration for the design of the starships is apparently all three franchises’ aesthetics, and I love the way it came together. It’s very different, stylistically, from the rest of my paintings. It really feels like a battle in 3 dimensions, if bound by the gravity of the planet they fight for, and it has the feeling of those old-school WWII paintings of navy battles in the Pacific that I love so much. It makes me wonder what our great-great-grandchildren will see in war museums, after the next Great War.

As for process, I branched out and took a mixed digital approach, Maya for the foreground ship, its clone, and a lot of their lighting, and Photoshop for the rest. I’m cutting it off here, because I could spend another month making this the most complex, convoluted painting you’ve ever seen. Not bad, for just under 3 days, if you ask me. I hope you agree.


Through Fire and Hell

Well, ladies and gentlemen, you may notice I haven’t posted in over a week. This is because my computer, for the first time in my digital career, was torn to bits by a worm. I come to you now from a brand-new machine, because it was cheaper than buying a new copy of Windows and paying a technician to right what was wronged. Hopefully the bastard didn’t destroy the thousand-some hours of portfolio work on my old computer, as, in my rush and excitement, I got lazy and only have a portion of the newest versions backed up. Only time and careful probing will tell. Wish me luck.

For the moment, here’s a short painting I did to illustrate my demeanor, in light of these happenings: