Void /// Experiment

Hey folks!

Just a quick style experiment for upcoming projects and ideas.

See ya’ll!



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GOWREELLAZTIKOS ::: The return of Raf and his shattered mind

GOWRIES, Gorillas, fellow friends – SO LONG!!!!!!


Well, Facebook and shiet can’t kill the passion for the BADASS-est art community, so, I’ll do ALL my best to ressurrect my ass in here!

I know it’s boring (since I’ve already posted this on FB and whatnot), but these are my latest personal experiments. YES, experiments, since I needed to try some things, before heading myself for bigger goals. Learned tons, specially for the absurd amount of CRAP that these turned out!!! Ps.: The bottom five pieces are some oldies (last three are book covers and a editorial piece),  but I still didn’t posted them I guess!


Hope to hear your TALENTED AS SHEISSE words on these babies!




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Harold Halibut – A Handmade Videogame

Hey everyone!

It’s been a while since I’ve had concept art to share so I’m excited to get a chance to post here. A couple of friends who do a lot of film work and I have been working on this video game together. It’s going to be an old school type of point&click adventure made entirely from wood, clay etc… Then photographed and pasted together in Unity. We just started to share the process of putting it together online so if you’re keen please poke your head in!

Production Blog: www.HaroldHalibut.com

Facebook: facebook.com/HaroldHalibut

Twitter: @HaroldHalibut 

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Painted Roses: Ispahan Progress Shots

Beside all the plein air painting I’ve been doing, meanwhile at the studio I have been also working away at some more pieces for the Painted Roses series. Those of you who follow me on Instagram saw my most recent effort.

I put out a little call before my trip to Los Angeles to see if anyone would be interested in posing for me. Rivi Madison and I have wanted to work together for months now, so she graciously and enthusiastically offered to work with me. I got some good reference for future paintings. I did want to strike while the iron was hot, so I went ahead and started to paint on this one. The ulterior motive for getting started was also that the Scottsdale Fine Art Salon was coming up on the 26th, and it was the 24th when I started this one, so I had to work quickly. My reference manipulation is down to a science, so I whipped it up in about an hour. Compare that to when I first started and it would take a whole month to prepare a batch of photo reference.

For a few reasons, I decided to take a photo for Instagram after every hour of painting. One, for education. Two, to see how long it would take me to finish. Three, to be able to make an animated GIF with the end photos.

Beginning from the drawing.

I had an old 8×10″ panel I prepared a long time ago, so it was perfect for what I wanted to do. I spent about an hour or two on the drawing.

Hour 1

Putting in the darkest darks in the entire painting, rather than exclusively the figure in the beginning as I usually do. I usually dont draw out most of the patterns in the beginning either but I thought I’d try to switch it up.

Hour 2

Also switching it up by starting to block in the entire background first before the figure.

Hour 3

Almost finished with the background.

 Hour 4

Blocked in the pattern and started on working on the darkest parts of her that aren’t in complete shadow.

Hour 5

Decided to paint her face by just working for darkest to lightest. Very methodically done with a focus on edges. Color is restrained to my limited palette with very subtle temperature changes.

 Hour 6

Working on blocking in the rest of her skin(but at the same time trying to finish it as much as I can on the first pass).

Hour 7

Now that the canvas is completely covered and everything is well-defined, I am working on refining the patterns.

Hour 8

Much progress on the left-side patterns of the painting.

Hour 9

The bottom-left part of the painting is coming together.

Hour 10

The center-right part of the background is coming together.

Hour 11

Now the background is completely finished and I am starting to come in and finish the patterns over her body and her “tattoos.”

Hour 12

“Ispahan” 10×8 oil on linen mounted on cradled panel.
Here we are, finished! Just finishing the patterns, refining loose areas, and adding my signature.
I put these photos together and made a GIF:
For the technicals: I pretty much painted the entire painting with #1 flat Rosemary and Co. mongoose brush. With it being such a small painting, I was able to do a lot with it by using short choppy strokes that blended together just by sheer value control and brush handling. My paint palette was white, Sennelier Yellow Ochre Light, Cadmium Orange, Alizarin Crimson, Dioxazine Purple, Cobalt Violet, Transparent Earth Orange, a combo of Ultramarine and Manganese Blue, and a concoction I made that resembles Holbein’s Violet Gray. As you can see, this palette really leans cool for obvious reasons. The Earth Orange, Ultramarine and Dioxazine Purple made quite the sufficient dark.
Let me know what you think about this painting. Do you enjoy the refinement?

Drawings For Sale
Prints For Sale


About Sergio Lopez

North Bay Area based Fine Artist Sergio Lopez. Oil paintings, gouache paintings, plein air paintings, and charcoal drawings. http://www.themainloop.com

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Sierra Pack Trip 2013: Lake Ediza

Last week was one of the best times I’ve had in a really long while. At the last-minute, I was able to get a spot with this group that included Paul Kratter, Pixar artists Bill Cone and Ernesto Nemesio, Julia Lundman, Eric Merrell, Jeff Horn, and Michele De Branganca. Every year, this group makes a mid-August trip to the High Sierras for camping, painting, and lots of laughing. I have always jealously looked on the sidelines at the blog/Facebook posts about these trips, so when I was asked to join this year, I was so happy to have the opportunity to go. Never knowing what my money sitch is going to be from month-to-month however, I couldn’t pony up the money in time to get a spot… until last-minute circumstances opened up a slot for me, and a ratchet-up in sales/commissions afforded me the chance to join. Paul let me borrow some camping gear, and we were off to Mammoth Lakes on August 10th, 2013.

Nighttime at Mammoth Lakes. Get a good night’s sleep before the big hike!


We celebrated Bill Cone’s birthday at Nevado’s with some strong margaritas (or was it just the altitude?) because what better way to aclimate to the 7000ft. elevation than with lots of alcohol?

The Hike Up

Ernesto and Eric waiting for our gear to be packed on the mules.
We were going to hike 7 miles into the wilderness and stay there for 5 days. Imagine lugging all of your painting supplies, tent, sleeping bag, and food up for a 2000ft. hike? Better yet, don’t. Hire a pack station to load 10 mules and a cook instead. Makes things sooo much better!
To find Lake Ediza, head through Shadow Lake.

A view of Mammoth Mountain from a tough switchback part of the trail.
Paul and Michele surveying the scene.
A pretty outlet of Shadow Lake about a third of the way up. Catch your breath, and maybe check your email for the last time…
Traversing the stream to get to the last leg of the trail.
We made it! There is no way to convey the difficulty of this hike in words, but there are some rough spots. Especially for those who aren’t regular avid hikers, but I will make sure next time to do some more hiking beforehand to warm up. The scenery is spectacular! I really didn’t do much for the rest of the day than rest and get used to being that high up on this Earth.

Getting Adjusted

The next morning was spent exploring this beautiful area in the morning. I wasn’t quite ready to paint yet, but I was feeling better about walking around and assessing just what we had to work with up here.
An incredible sunrise.
Paul getting ready to paint the morning light on the Minarets.


Mountain penstamons.


Beautiful trees in the morning.


Some of the interesting flowers of the area.
A waterfall in front of Mt. Ritter.


An alternate view of Ediza.



Figuring Out How To Paint These Things

Much of what I dedicated my brain power to as I painted up there was to figuring out just what sort of color I was really looking at on these rocks. Although from a distance they look like a uniform bleached gray, you can imagine how incomplete the depictions would be if you painted them so simply. There is a wealth of subtle color in these rocks, mainly because of a little principle called reflected light. A lot of warm color gets bounced into the ground-facing planes because of the warm green/yellow grass and sunlight-facing rocks. I found that I was using a lot more cobalt blue than usual as well. That primary blue color turned out to be very useful in the shadows.
Oil #1. 6×8″
Oil#2, 8×10″.
One of the neat things about going up there with so many other artists was watching everyone else’s approaches to painting this exotic scenery. Take Eric Merrell here for instance. He had a very deliberate methodical approach to painting outdoors. I don’t know if he always does this, but he staked a place that had a variety of subjects to paint, and did multiple studies from the same area, rotating his easel for every new painting. He found some very interesting designs and colors out there.
Oil #3, 11×14″.
Later on in the day I returned to a meadow I found higher up along the river which I believe is the San Joaquin. I had warmed up from the day’s painting and went a bit more ambitious on this one. This was one of my favorite paintings of the trip. I think I captured some of the early evening light in it and got a decent sense of scale and distance in it.

Continued at my blog………………..


About Sergio Lopez

North Bay Area based Fine Artist Sergio Lopez. Oil paintings, gouache paintings, plein air paintings, and charcoal drawings. http://www.themainloop.com

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