Student Portfolio Eric Lindsay

Artist biography

Born in Washington, I am a Gen X'er who spent my early years in the family video store loving all of the amazing posters and box cover art that lined the shelves and walls. I began drawing as soon as I could have art supplies. As a youth my art started taking shape when I began seeing art in Dungeons and Dragons players’ books that were popular fare during recess at school. When a comic book store opened up I became the store pet taking up reading and collecting comics. I soon began trying to replicate the works of Todd McFarlane, Alex Ross, and other artists of the time.

Unfortunately the idea of becoming a full time artist wasn't a pursuit that was supported by my family. For this reason my art was not focused on as seriously as it is today. Yet the visions I imagined as a youth pushed me toward experiencing some of the adventure and characters I read about.

After serving in the military I was recovering from a spine injury, wondering what path my life would take I stopped into an art store. I came across a book on Pin striping and Sign Painting, returning later to take an airbrushing class. My passion was reignited. I was reminded instantly what I loved about art as a kid. From there I studied Digital Illustration at Everett Community College and am currently in the Studio Arts program. Additionally I travel to attend seminars with other artists that inspire me.

I use multiple mediums using airbrushes, traditional oils, charcoal, and digital workstations I use whatever tool or techniques that looks best for the project.

I find that when I am painting or drawing I am free. There is something that takes place when I am focused on a project, time will pass, I will be unaware of the sounds around me, and devoid of internal dialogue. It is the most connected, and centered I ever feel.

Art 110. Use of line and continuation project. Photocopys cut and glued on illustration board. Fall 2013.

The visual elements and principals of line are used in this project. The viewers’ eye is taken from left to right or right to left following the connected yet contrasting lines in the photocopies. I used black and white instead of color to bump up the contrast and aid the viewer. I bookended the piece with pictures that have a full black background to help keep the image balanced overall.

Graph 110. Positive and negative shapes in letterform. Adobe Illustrator. Winter 2013.

Balancing positive and negative shapes, this piece is a mirror of itself. It has a feel of being solid in addition to relating the letterform and the subject. Using hammers to create a yin and yang look I wanted to also have a typeface that is solid in nature. Almost as if it was built or constructed by the hammers. This could be viewed rotated at 90 degrees and still make sense.

Photo 110. Depth of field. Digital. Summer 2013.

An extreme use of depth of field is used here to bring the viewer into the world that this fern exists in. By doing this I can give the viewer a sense of 3 dimensions. There is also lots of texture captured in this photo. From the web, the soft background, and the plant itself. It also displays a slightly arching line from right to left that forces the eye to correct itself as we usually read from left to right slowing the viewers experience.

Art 113. Drawing demonstrating gesture. Live model. Charcoal on paper. Fall 2015.

From a live model I composed this piece from the same person drawn in two positions. Under pressure of a time limit I attempted to use the cast light in the room to show value. I also wanted to show depth by adding the props and key pieces in the environment around the model. There are also elements of one point perspective here adding to the feeling of depth in the room.

Art 110. Drawing demonstrating Pos/Neg shape relationships. Charcoal on paper. Fall 2013.

In this project I drew from life a plant placed by the instructor by a window. By doing this the plant can only be seen in negative form due to the strong light from the sun behind the object. This gives the piece a very 2 dimensional feel and leaves the viewer filling in their own interpretation of the plants real texture and color. Hard shapes and edges are the elements that dominate this project yet the medium of charcoal not being erased in the background brings softness.

Art 110. Linear perspective from observation. Pencil on paper. Fall 2013.

Here is a direct reproduction from observation. Using the principals of 1 point perspective I recreated on paper the hallway at the college. Interestingly I chose to use a point that terminates at the beginning of another door instead of a wall. This may give the viewer the chance to ponder what may lay beyond the door.

Art 113. Mastercopy using value to show form. Singer Sargent by Kenneth Grahame. Charcoal on paper. Fall 2015.

As faithful of a reproduction as I could do, this master copy of Kenneth Grahame was done in the same medium of charcoal on paper. I enjoyed capturing the interesting likeness and found the interesting use of core shadow on the subjects face a key to making this a successful learning experience. This use of shadow creates a great deal of dimension through shadow.

Art 113. Charcoal drawings demonstrating use of full value range to show form and texture. Charcoal on paper. Fall 2015.

The two above pieces show a range of values and textures. On the left a still life from class showing 3 dimensional objects with a number of differing textures and values. The objects include a foot cast, grapes, Roman pillar, and part of a plant. I also included a personal piece showing a more stylized figure drawing from my personal studies. The figure shows a number of interesting uses of light and shadow to create and interesting piece with light and depth.

Personal choice drawing demonstrating process. Charcoal on paper. 2013-2015.

Here we have a couple of examples of my process. When doing figure work I try first make a puppet or skeleton of the figure I am trying to create. There are also some of the skull studies. I seem to do a lot of skulls. They are familiar and are a way for me to work out if a medium is going to work for me in addition to being the foundation to figurative art. Included is a larger second phase figure that is in the process of being fleshed out. This is the middle step to creating a final and complete figure piece.


  • Workshop, Killer Paint ( airbrush, pin striping ) multiple instructors 3 day
  • Seminar, Mike Lavallee ( airbrush ) 3hr
  • Certificate, Everett Community College ( digital illustration ) graduated high honors
  • Workshop, Greg Manchess (ala prima oil portrait ) 3 day
  • Workshop, Terryil Whitlatch ( creature design ) 3 day
Created By
Eric Lindsay


Created with images by fancycrave1 - "art creativity drawing"

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