I’m finally starting to get moving on the short story project with John Fulton.
Here is an in progress update on the first book cover, I’m probably 50% of the way through it. The colour block-ins are done, next come the details.
Here are some thumbnails:
A 3D layout I did in Blender to help with perspective and lighting:
The underpainting and line drawing:
The colour block-in and some early detailing and this is as far as I’ve gotten at the moment:
Here is my fifth acrylic painting and this time I was Learning How To Colour Over An Underpainting.
I tried using a grisaille (grey monochrome) underpainting. I then painted my colours over the top.
This seemed to work quite well as the paints I am using were transparent enough to let the underpainting show through.
I also had a go at painting “lost edges”. These are edges that are so blurred as to be “lost”. I love seeing them as they lend a real painterly feel to a piece of work.
I learned a few things on the way:
- Underpainting really does work to provide a tonal variation underneath any subsequent application of colour.
- Using a grisaille underpainting didn’t affect the hue of the colour being glazed over the top. This makes colour matching a bit easier.
- I probably should have planned in my lost edges earlier on i.e. at the underpainting stage instead of applying then right at the end.
Anyway, here is the final result (sorry – I forgot to take some process shots):
I was determined to learn how to get better at mixing paint so I found the following articles on the internet and read through them:
What I learned from these articles is that you need to think about the following when you’re trying to mix paint to match a specific a specific colour:
Some people first try to match the value, then the hue and saturation. Others try to match the hue first and then the value and then the saturation.
Having said all this I reckon the secret weapon to mixing paint is …
There is no secret weapon – you just gotta keep working at it until you’ve got the colour you want.
So here’s my attempt at mixing paint …
This is the reference image:
And here’s my attempt:
I’m a bit disappointed with the lack of light and shadow on this, I feel I could have done more to describe the 3D form here.
I think for the next painting I will do an underpainting to establish the light and shadow and then glaze colour over the top. I think the acrylic paint I’m using has enough transparency for this to work well.
I’ve been 3D modelling an anthropomorphic rabbit for my project with John Fulton.
Here are a few process screenshots:
I learned a couple of nifty tricks in Blender doing this:
- Edge Slide: This allows you to select an edge loop and slide it along the geometry without affecting the overall shape. Here’s the Blender documentation on it: https://docs.blender.org/manual/en/dev/modeling/meshes/editing/edges.html
- Rip: This allows you to rip a mesh along seam, sounds easy to do but without this feature you would have to duplicate vertices and edges. Here’s the Blender documentation for it: https://docs.blender.org/manual/en/dev/modeling/meshes/editing/vertices.html
Here’s my second painting in acrylics, a labrador puppy.
I heard that at Watts Atelier, they have their students paint monochromatically to begin with so I thought I’d give that a go.
More anatomy art study – this time of the biceps.
I hadn’t realised but the biceps actually originate from the scapula! Who’d have thunk it!
This is a study of the triceps muscles I did the other day. Learning the origins and insertions really helps with inventing poses from imagination.
Here’s a study of the pectoralis major muscle I did. Gotta be able to draw a good pair of pecs.
I’ve been studying the origins and insertions of the deltoid muscles.
Then I tried to apply this to a sketch:
I’m still trying to improve my anatomy drawing.
I’ve found that if I learn where muscles start and end, I feel more confident drawing them.
Here is a study of three of the muscles at the back of the shoulder: the Infraspinatus, Teres Minor and Teres Major.