![]() ![]() I’ve always liked curvy women, and I’ve always liked to draw them. The subject matter came naturally to be honest. How did you come about your design style and your subject matter? I like the contrast of very simple shapes in the silhouette and the impression of volume that comes from painting with those brushes. I use a brush that has a bit of texture to get that acrylic or pastel feel to it. The first part is a very rough sketch trying to simplify the silhouette as much as I can, working with the shapes to get to a nice balance of curves and straight lines, and push the contrast between big and small shapes as much as I can. I always use a reference because I'm not great with colors and light, so what I do is look for a picture of a model that I feel would look cool as a painting and work from that. I'm only really good at three things animating 2D characters which is my actual job, making kids (of which I have a lot.well 3, but during lockdown that does feel like a lot), and growing vegetables.įor my paintings I use Photoshop and a Cintiq (basically a big screen on which you draw directly with a digital pen). I never paint on canvas with traditional mediums because I'm actually not that good a painter. Are your paintings digital or actually painted on canvas? Talk to the humans in the gallery for more information.There is a graphic yet painterly feel to your work. I’m helping to raise money for homeless and abused non-human animals like I used to be. Give me a minute and I’ll probably come and say hello. Sometimes I growl when I’m scared but I’m not aggressive at all. Sorry! If I back away from you, that means I’m not comfortable, so please don’t force yourself on me. If there’s a dog or skateboarder outside I will probably ignore you. Unsupervised children who pull my tail or ears (hate that!)ĭon’t be offended if I don’t seem that interested. ![]() Treats (ask my human’s permission first please)įur coats, feathers, scarves, big hats or coats, big bags or backpacksĭrunk humans (yes, I know, I live in the wrong town) I don’t go past our doorway without my dad’s permission. I’m the official greeter here at the gallery. Only now, Tanner's woods are a delicately rendered archetype symbolizing the sacred inner-sanctuary we all cultivate, both individually and collectively, as respite from a world that is increasingly out of tune with our natural sensibilities. These days Tanner can be found painting in the quiet calm of his Royal Street Gallery, a serene space where enchanting works and ambient sounds combine to recreate those eerily comforting woods. Word quickly spread of the artist Tanner and his haunting tree-scapes, and before long he was off of the streets and into his own gallery. With bills to pay, he struggled through a variety of styles ranging from mixed media to body-art, but knew he'd found his niche when he began painting the woods of his youth. Tanner paid his dues, so to speak, as a street artist selling his creations in Jackson Square, a popular destination for both tourists and locals. ![]() He studied primarily under the academy's founder and world renowned artist Auseklis Ozols, receiving additional instruction from various internationally known artists including Adrian Deckbar, Katalin Gergo, Darrell Brown and Jean Cassels. Tanner relocated to New Orleans as a young adult, where he attended the New Orleans Academy of Fine Art. Escaping into the haunting embrace of dark trees and jewel-colored Southern skies, the young artist found sanctuary and safe haven from the threats of a less-than-perfect childhood. Many of his early memories find him in the dense woods of the region. Tanner's inspirations begin in the small town of Semmes, Alabama. I have come to realize that I imagine these places this way to keep my troubles from following me." The places I imagine usually have a very still, calm atmosphere however, I have noticed these “places” also are a little unsettling at the same time. Although I’d like to take more credit for their creation, I normally feel as if I am merely a channeler. I enjoy getting caught up in the details.such as painting tiny individual tree branches. Other times I just sit down and begin painting, having absolutely no idea what the end result will be. Once I can see this image clearly, my challenge is to transpose this mental picture onto canvas. I “build” this place in my head, deciding colors, mood, and the placement of the trees or other objects. I begin this process by first sitting quietly and imagining a place in my mind. One of my goals is to draw the viewer in. Many of my collectors tell me they escape through my paintings as well. ![]()
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