I’ve completed the Time For Tea cover for John Fulton and emailed it to him for approval. Hopefully the formatting etc … is correct.
This piece took me a lot longer than anticipated but has allowed me to cobble together the beginnings of a workflow.
Next will be a greyscale painting for the interior of the story.
Not being convinced about the composition, I’ve reworked this piece a bit by flipping it horizontally and also removing the teaspoon.
Also, the lighting is now darker and more yellow instead of orange.
Felt compelled to do a figure study the other night as I’d been focused on other art for a while:
Here’s the reference photo of John Cena:
There’s a few accuracy issues with this. Once I started rendering I stopped putting in the effort to be accurate, something to improve on for next time.
On the upside, as I was painting, I found that my recent bumblings with traditional media has had an effect on the way I painted – I think this looks more painterly than my previous digital paintings.
Also I’m getting more familiar with Clip Studio Paint (formerly Manga Studio).
I’ve been meaning to try my hand at painting using a traditional medium such as acrylic paint for some time now.
I finally took the plunge and whilst I’m not completely happy with the result, I did really enjoy myself!
I started with a medium grey background and then did an initial colour block-in.
I then decided that my colours were completely wrong and did another colour block-in over the top. I tried to use an impasto (thick paint) technique as this seemed like fun, and it was!
Here I added a little more detail over the blocks of paint.
I struggled to get the right tonal variation whilst working with variation in colour as well here but I am calling this done and moving on. It’s so much easier working digitally since you can just set the value slider to get the right tones for the selected colour. Here I will have to learn how to mix paint physically!
I’ve been doing some more rabbit studies for my project with John Fulton.
I had a quick look at the skeletal structure – I didn’t realise that a rabbit’s scapulae came so far round the side and forward to the front! Every day’s a school day!
After reading about how James Gurney uses miniature models to help him work out lighting, I thought I would try something similar in the digital realm.
Here is a kettle design for a project with my author friend John Fulton.
It was done as a 3D model in Blender using it’s ray tracing render engine (Cycles) which calculates how light rays behave in the real world.
I’m taking part in another challenge on the Crimson Daggers Art Forum called CHOW Down (CHOW stands for Character Of The Week).
I managed to get it finished just before Christmas as I will be out of action busy eating and being merry over the next few days!
“On the broken world of Dustryon, Princess Tronica Vin is heir to the throne of Vangaia and is a technological genius but she is easily bored. To get her kicks she takes to the streets of her crime ridden kingdom and indulges in a bit of vigilantism. Armed with a chainsword of her own design she has taken down some heavy duty baddies already. What will she do next?”
Here are some work in progress shots:
I’m still messing about with my figure painting process.
This time I tried combining the gesture and silhouette steps. I think that worked well.
Step 3 was a bit of a dog’s dinner this time though. I tried adding in the darkest darks at this point but perhaps what I should have done is gone for adding big shadow shapes at this point. The darkest darks could then have been added within the boundaries of the big shadows.
After some tips on silhouettes from a friend on Crimson Daggers, I’m trying to include silhouettes in my workflow for painting the human figure.
My current process is this:
2. Silhouette with 100% opacity brush.
3. Shadow shapes with 100% opacity bursh.
4. Full light shapes with 100% opacity brush.
5. Blending with pressure opacity brush (added some highlights and reflected light here for fun).