You can always lasso to separate out the layers to reorganize as needed. This allows me to edit everything together instead of bouncing back and forth between line and color. I even eventually flatten the line work to that character layer. Force myself to commit to the changes I've made and move on. It's not what everybody does, there is no absolute answer, but for me I like backing myself into a corner haha. But at some point, for example, I flattened the colors for the serpent boat and characters all to one layer. Not a complete flatten, it's still separated by fg,mg, bg as I mentioned earlier. I end up flattening things to simpler layers. Here's a random video I found that has a good setup among a few other ways I've seen. You can lock the pixels on that layer with the "/" hotkey or make a new layer and hold alt and click between layers to use the layer underneath as a clipping mask. Another way to do this is by lassoing a selection and paint bucket filling it. I use that layer as a clipping mask to start painting the colors under the parts I want to keep separate from the background. I'm pretty sure other programs have ways to do this but I mainly paint in photoshop for work.īasically, after I do the drawing, I paint a flat layer using a brush that has no pen pressure or "transfer" in photoshop brush settings. With a composition like this the serpent and the ship are either on a single layer or pieces are cut out to facilitate the complex overlaps. I am an open book for any who seek to demystify the bullshit world of art. the magic of pinning a banana to an art gallery wall.ĭM me if you want some additional resources. Hopefully I shed some light on the craft of illustration vs. Plains was a several sitting fustercluck of adding and removing elements, it was hectic in narrative and process so that makes sense I guess. All these contrasts serve to drive the viewer towards where I want them to look.Īt the end of the day, it's rare when it's this smooth, so this piece is special to me. Light and dark, The bright splash of orange on a muted cool palette, the high level of detail on the figures versus the simpler background, the dense scale pattern texture to contrast the flatter waves. Layered contrasts are something I strive to keep an eye out for. Gradations help sell the atmospheric lighting and the lightning bolts gave me an excuse to add sweet rim lighting (kiss exploding fingers) which I do in a lot of my work (I probably do it to much tbh). If black is 10 I never dipped below 7 (mostly) and if I did, I would edit my staging by adding some kind of rim light which you can see on the back of the serpent not present in the drawing. Īfter that I had fun coloring in the piece making sure to never dip my values(light and dark) close to the blacks to preserve the graphic read of the image. Here's the cleaned up drawing phase(previous phase is chicken scratch) where I was thinking through the serpent, ship, and main action. I did a rough sketch of this idea, followed by a cleaned up drawing, where I staged the elements overlapping light on dark and dark on light in a sorta interlocking jigsaw (that's how I've come to see composition, interlocking dark and light patterns showcasing a narrative). Staging that suspenseful interaction clearly became a priority. The main focus centers around the drama between the shield maiden with the harpoon and the serpent. The rhythm of the waves echoes this idea. That thought process informed my major gestures. Creates some nicely layered elements as they weave. So I came up with a comp in which the serpent was intertwined in an almost double helix weave thing. In this case, inspiration came from Scandinavian knot carving combined with the horror of a serpent wrapping it's body around your ship and giving it the death squeeze. I was hoping to bring a different take on it. In this case, Thor fighting Jormungundr and us fighting Valheim serpents run parallel. I'm this guy at parties btw.Įvery illustration should stem from some kind of story beat. You've just opened pandora's box on my art nerdom. Hey thank you and no problem! I'm sorry for this.
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