David Finnigan

Fine Art Painter


Studies for the painting - ‘Speed Graphic’, these are small ink drawings and along with other similar studies, helped me determine the composition and the way I wanted the painting to work.





Above are some of the screenshots of the 3D development process. This can be very involved and usually many decision changes are made during this stage. Also there is an ongoing fine tuning of the planned composition.





Above are some close upimages of the finished oil painting


The finished work







Slideshow illustrating the development process of one of my ‘VirtualRealism’ paintings. The work begins with some sketches and studies, before I begin constructing the model in my 3D software. After fully creating the scene, I then deciding on the best composition by adjusting the position of the virtual camera, I can then make a render which will then be used to make the painting from. The images to the right show the drawing out, by hand of the rendered image on to the canvas, followed by an underpainting, which is then worked on in various layers until finished.







A couple of examples of the very quick, pen and ink studies I like to make. They serve as a visual reminder for me of the time I spent in a place. It is interesting how much more you remember if you sit and sketch it, even for a few minutes. This helps when making the final painting, as what you will remember will include all phenomena, such as sounds, movements, the weather and a sense of the spatial qualities.
    These studies will be used as a starting point for a short series of paintings based around the idea of the ‘marina’. For these paintings, I will also use a wide selection of photographic material I have collected, as the finished pieces will fit into my ‘PhotoRealism’ series. 






The making of the painting ‘Lubitel II’ was approached  with the idea of recreating the essence of, or conveying the feelings I had, when recalling a particular (now) distant memory. Although it was not intended to be a literal representation of the origin of the memory, rather a more allegorical image.
I began with some pencil and ink sketches in order to start developing a composition which I felt would work.


Development of the 3D scene based on some of the sketches. This tried to mimic the compressed space and perspective. I wanted that modulated feel, so as to suggest an escape or a way out or even something more benign.
The finished painting - ‘Lubitel II’


D Finnigan ©2017