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.
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:
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.
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.