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I started my first years of 100% GNU/Linux using a mix of Gimp-painter 2.6, Mypaint and Alchemy. This crazy idea was a big turn in my career, and more when I decided to stick to it after the Sintel project. I really wanted to use only open source on GNU/Linux for the concept art. My first contact with drawing in Krita was in 2009 when I was preparing my work as art director on the Sintel project and studied all the open source painting applications on Linux (Gimp, Gimp-painter fork, Mypaint, Qaquarelle, Gogh, Krita, Drawpiles, and even the web-based paint-chat ones). I had a dual-boot with Linux-Mint 4.0 and I was already enthusiastic about open-source technologies, especially Blender.
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I remember I spent time to try to install it and didn’t succeed.
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Krita was a Linux-only program at this time and I was still a Windows user then (I moved to using Gnu/Linux full-time in 2009). I first heard about Krita on forum news, around 2007. In 2003 I ended my career as a traditional painter when a client decided to buy my whole stock of canvas. Then I met online publishers interested in my digital art and started to work more and more as a digital painter with an official Photoshop licence, Corel Painter, etcetera. With digital painting, I could experiment with many themes I could never have sold on canvas. I didn’t know many things about software, so my first years of digital painting were made with Photoshop Elements (bundled with the tablet). I bought a tablet to start to paint digitally during this period.
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The internet of CG artist was new, full of hope and full of humanity… Forums where starting to open everywhere and CG artist shared tips, tutorials, work-in-progress threads. And suddenly many artists were on the internet, and you could see thousands of artworks daily. Before 2000, you had to pay for a book or go to exhibitions to see new artworks. I was amazed: brilliant colors, rich gradients, a lot of fantasy artworks. I discovered modern digital painting thanks to my first internet connection around 2000 and the first forums about it. I also had long drying times for commissions in oil, and when something wasn’t accepted by a client, I had to start over… What I remember was the stock -the physical size of it- over 100 canvases take up a lot of room in a small apartment. Outside the tourist season I started to do traditional painting. I first worked as a street portraitist in Avignon then. I was too much of a rebel to follow any type of studies and eager to start my own life far from any influence. I left the school system and my parents’ home at 18 years old. What makes you choose digital over traditional painting? For the younger generation reading this, just imagine: no internet, Windows 3.1, VGA graphics (640x480px, 256 colors).
Fortunately, my parents and siblings were afraid of the home computer and I had it all to myself. As a kid in the nineties, I was very lucky to have a computer at home. My first real digital-painting contact was with Deluxe Paint II on MS-DOS in 1992. How did you get to try digital painting for the first time? I do not really have a role model, but I’m deeply impressed by artists able to melt the limits between industries, as Yoshitaka Amano did between concept art, illustration and painting. Whose work inspires you most - who are your role models as an artist? I’ve worked in many genres, but currently I’m sticking to a homemade fantasy world for a general audience. Pepper&Carrot is the project of my dreams. Managing everything on this project is hard and challenging, but extremely rewarding on a personal level. An open web comic done with Krita and supported by the readers. Nowadays I work mainly on my own web comic, Pepper&Carrot. Do you paint professionally, as a hobby artist, or both? I like independence, cats and deep blue color. This process leads me to reject many things accepted as normal by my contemporaries: TV, proprietary software, politics, religion… I despair when I hear someone saying “I do this or this because everyone does it”.
Something I think specific about me is that I rarely accept ready-made ideas, I work to build my own opinions.
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Maybe you’ve already come across some of my artwork while browsing the web, for example my work on open movies (Sintel, Tears of Steel, Cosmos Laundromat) or on various board games (Philip Jose Farmer’s ‘The maker of universes’, Lutinfernal, BobbySitter) or book series (Fedeylin, Club of Magic Horse) and artworks like Alice in Wonderland or Yin Yang of World Hunger.
I worked for many industries: traditional-painting, illustration, concept-art, teaching. Could you tell us something about yourself?
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