Photoshop Skillz.

I’d love to be shithot at Photoshop. To be fair, I wasn’t too shabby at art college, where I began focusing on digital art. Maybe one day I’ll put in the practice. It’s on the list. It’s unlikely I’ll ever get this good though. Max Asabin is a Russian artist doing, well, amazing stuff.

More this way… [LINK]

Eyvind Earle, IRL.

Keen observers may remember my obsession w/ the great Eyvind Earle – his estate granted me permission to use some of his paintings in the look of Winter Of ’82, like here:

Earle started out at Disney, famously developing the concept art for Sleeping Beauty, with a really distinct surrealist take on nature, and trees especially:

Today, on family vacay, I was lost in magic here:

And what do I see? Those surreal, rectangular Eyvind Earle trees, right there, IRL.

As if the place wasn’t magical enough; it even made my inner art geek happy. Perfect.

Check out more of Earle’s magical works here.

The Series.

One of the reasons I’m working under a new b(r)and name has to do with that pulling all this together for the listener.

I could put this out as Kris Halpin, but that doesn’t tell you anything about what is and why it’s different.

My art college brain likens the difference between Kris Halpin, Winter Of ’82 and now Dyskinetic as being that of a series of works, the way a painter may create a series.

If you make art for yourself and no one else, then make whatever you want. If you make art for the rest of us and you’re interested in having us appreciate and understand what you’re up to, you better make it in ways that give us a fighting chance to figure it out.

This neat article at ArtBusiness.com explains the Advantages to Bodies of Work Over Single Pieces better than I can…