Been away for quite a long while! Didn’t post anything here ever since I started studying at Digipen, primarily because school work occupies most of my time. Had very little time to draw my own stuff,  let alone do full digital paintings. Also, most sketches and little drawings are on my instagram account. Anyways, school will be starting again in a couple of days, so here’s a landscape piece before I vanish again woohoo.




Always had quite a bit of fascination with Greek mythology since young so I decided to do a landscape painting revolving around said theme.


Pretty straight-forward piece, so nothing much to be said here. 🙂

This is probably the last full digital painting I will be posting in a long while, since school is starting soon and I most likely won’t have a lot of time to work on personal pieces. Guess we shall see. Till next time, cheers!

Cutting Winds.

With every new piece I try to enhance my work process, paying more attention to lighting here, adding more texture there, sometimes simply spending more time working in more details, etc. Here’s my latest attempt.

Blade-Maiden of the Winds.png

I’ve always had an issue with my paintings looking a little too…digital. The common dilemma with digital painting is that since you are basically applying “paint” on a virtual, flat, and texture-less canvas, the severe lack of texture drastically reduces the visual interest of the painting surface. The same single patch of color on traditional oil paint and canvas will always look more alluring on several levels compared to that on a digital canvas (plus the extra sheen that comes with oil painting). Textural quality breathes life into a drawing/painting. When I first started doing digital painting, I used to be kind of stubborn about using textural and custom brushes, insisting on painting with default brushes and sticking as closely to the classic manner of painting as I could. Well, I was a damn fool. I eventually accepted them as just tools, like the large range of traditional brushes out there, and also started texturing my canvas via the overlay blending mode. The difference was staggering. Of course, the same fundamental drawing skills apply, but integrating custom brushes really helps to eliminate the flatness in a digital painting. I’ve only just started varying custom brushes more in my recent works, so I’m gonna keep experimenting with them. Anyways, this piece might be the start of a series, but I’m not sure yet, so we shall see. Cheers!

All’s Quiet.

Been quite a while since my last painting due to the fact that I was working and didn’t do as much art. But hey! Here’s a new piece, centered around the theme of a dark, 1940s era city night scene.

The Silent City

So, this piece initially did not start out looking the way it is now. Not even close. The composition was completely different, more brightly lit, and somehow deviated too much from what I had in mind. Got stuck quite a few times as well due to the fact that I just didn’t really like how it looked. Hence it was abandoned halfway through and I started again from scratch. Here’s a peek.

The Silenced City (Abandoned)
Initial version. Nope.

Glad I sacrificed the work done with the first version and went  ahead with the new composition, as the lighting and feel is more in sync with what I wanted to create. I personally prefer the more simplified composition as well, as it feels more cohesive and less scattered. Long process, but nevertheless still enjoyable as always. Cheers!

In the Wake of Desolation.

Wake of Desolation

Hiyah, it’s been a while! I’ve been working recently, so the amount of time spent on painting/drawing has been drastically reduced. Worked on this on and off over weekends, so it was actually stewing in the pot for quite a bit. I initially considered adding in more elements into what kicked off as careless and vague blots on a blank layer, but finally decided to just keep it simple. Anyways, painting minimalistic compositions can be a rather cathartic process in itself,  and having the small details and color nuances gradually materialize on a large shape without fussing too much over complex elements can be decidedly satisfying. Not sure when the next painting will be, but you can follow my instagram account (#aziore) for sketchs/WIPs and updates. Cheers!

Famine, Celestial Harvest Fiend.

Famine joins the rest of the apocalyptic posse!

Famine, Celestial Harvest Fiend

And that’s that, the series comes to an end. A spectacular end, I hope. It’s been quite a ride and I enjoyed every second of it, had great fun thinking up the visual look and feel of each of the four. Personal projects like these keep me going and helps me maintain my hunger to continue honing my skills (no thanks to Famine haha..ha..ok sorry). Still so much to learn, but well, one step at a time. 😉

Already have an idea of what to paint next anyways, so stay tuned if anyone reads this ha.

Pestilence, Celestial Plague Bringer.

Done with Pestilence! Make way Death and War, make way make way
Pestilence, Celestial Plague Bringer

With Pestilence I toned down the design and stance a little as compared to War, almost to an austere degree, with the intention of creating a humble archer releasing plague and disease without judgement or preference. Hopefully that goes through a little. Cheers

War, Celestial Strife Forger.

Finally done with the second horseman of the apocalypse! Here it is:
War, Celestial Strife Forger
In stark contrast to the serenity and poise that Death exudes, War gives off a certain intensity in his bearing and stance. The positioning of the various blades creates a tension hovering between static and dynamic, as if he is in a state of rest yet ready to spring into motion at any time. Well, at least that’s the feeling that I was going for when I started working on this. Anyway, hope you guys like it! Now I’m not sure if the next horseman I work on should be Pestilence or Famine hmmm…..back to the drawing board.

Death, Celestial Soul Reaper.

I recently decided to start a reinterpretation series as a little personal project, and settled on conceptualizing the four horseman of the apocalypse from biblical lore. The main idea behind the series is to re-imagine the horsemen as extra-terrestrial/celestial beings, with each horseman becoming a representative of their own distinctive alien race. Each race has unique traits and features which becomes the definition of their bestowed titles, namely, Death, War, Famine and Pestilence. Over time, mankind sees the creatures as divine figures, blah blah blah, and eventually they enter the mysterious shadows of mythology. Something like that. I also chose to omit the equine part of the mythology. If the title isn’t already painfully and glaringly obvious, well, I started the series with Death 😀

Death, Celestial Soul Reaper

Just in case you have totally no clue what the four horse thingies of some apocalypse are, they are biblical mythological figures associated with the apocalypse, or the end of the world. In the bible, they are mentioned in the book of revelations, and are the harbingers of the last judgement, out to set a divine apocalypse upon the world.  On a final note, my work has no religious affiliations, is purely for artistic purposes, and of course,  good fun. Okay bye.

“Wake me, When You Need Me”

When Halo 5 was released several weeks ago, it occurred to me that after I did the Noble Team series some years back I actually didn’t create any piece centered on the most iconic and well-loved protagonist of Halo: John-117, the Master Chief. So, with both Halo 4 and 5 more focused on the emotional aspect between Chief and Cortana, I decided to work on a piece revolving around the two.

Wake Me, When You Need Me