Studiiiiiieeeees. I got another boost to do studies by Jan Drenovec, who is an amazing painter and gives great feedback on my work :)
To warm up, for today's work, I decided to do a digital sketch. Just something to have a little fun with, instead of diving straight into paid work. I took a long stroll yesterday, ended up next to a grave-yard. Probably that is why I way inspired to paint one myself.
Have a great week.
A digital study of an oil painting by the amazing "Qiang Huang", to help me get a better grasp of the use of brushes.
And from this I managed to create some photoshop-brushes for you to download.
it has been a longer absence again and I apologize. So hopefully something to make up for it.
I decided to take part in the monthly Character Design Challange (CDC in short) over at Facebook.
The theme this month was: AZTEC WARRIOR. And since I love animals so much, I decided to do a anthropomorphic lizard dude for this.
I followed a very streamlined process this time and waited until the very with painting freely. I think it paid out.
Most importantly thanks to Christian Retzlaff and Jan Drenovec for their feedback.
See the GIF below for the whole process.
So since I am working on a character-illustration, I realized my portrait-skills are lacking in certain areas. So it is back to studying:
After doing the first 2, I decided to change my approach. So instead of copying as close as possible, what the photo has to offer, I settled on 5 colors first. 2 for the shadow-side, 3 for the light-side.
Since I was asked, how I define the colors, here's a little explenation. The darkest color for the light-side is at the same time the most saturated (the midtone), it then gets lighter, more yellow and less saturation towards the highlights and redder/bluer and less saturated towards the darks. So the most saturation occurs in the area, where light and dark meet. This can go meta-physical here, but lets not ... :D
I then mapped out the shapes as close as I could. Especially the shadow-shape is something, that can be treated with a lot of care here. Even done a lot of edge-refinement pays off later.
After the initial lay-in, I continued with overpainting. In this phase I also add dark and light accents here and there. In the end I was surprised how straight-forward and easy this approach is and I am very happy with the result.
I tested this approach on another portrait and recorded the steps (below). Since it produces the same satisfying result, I can safely say, that this process is solid. I love to work like that and for the first time in a long time, studying is fun again.
Hope it helps you to crack colors and gives you some inspiration on how to approach your next project.
This is my blog.
I will share information about workflow, my insights into image-making or just general thoughts and rants about being an artist.