Fantasy Art

Wednesday, December 13, 2017

The Brewery part 5

Especially on a large painting you want to work on it one section at a time because some of it will dry too much if you do it all at once.  This figure is almost life-sized for an adult and that's a lot of area to paint at one time.  So I finished the legs first, then her torso from the hips to her breasts, then the breasts, then her upper chest and neck, each arm, each hand and lastly her face and hair.

The top portion of the bench she's sitting on will most likely catch more light than the rest of the surfaces, so it needs to be lighter.  But I didn't want to put any white on it so I darkened the vertical surfaces to make the floor and bench seem lighter.

Tuesday, December 12, 2017

the Brewery part 4

Notice the various different colors that have been placed along side of each other on the skin.  There's a mid tone, but that's actually three or four different shades from the pallet.  Then there's almost pure white on top of the knee, a dark rose color on the fronts of the knees and a mid tone mixed with olive green in the partially shaded areas.  Before blending I also put some darker browns (not very much) and some spots of red in the shadow portions of her legs.
Allow it to dry just a minute or two then use a soft dry brush to gently swish the edges of each color patch into the edges of the next one.  Wipe the brush off with a paper towel as it accumulates paint, but DO NOT use paint thinner until you're done or you'll be erasing paint.  At the blending phase you're not adding any paint to the canvas just knocking the existing paint sideways a tiny bit.  That's what makes it all blend together.

Very little of the stone texture will show through on the skin, but some small amount of it does.
If you look closely at the skin of your left arm you'll see such things as wrinkles, freckles, age spots, scars, hair follicles, veins, and cat scratches.  Or maybe that's just me.  At any rate your skin is not a uniform color or texture all over.
All of this would be tedious and unattractive to actually take the time to paint, but an underlying variation of color or texture such as this faux stone can create much of the impression of such things without the need of actually doing it.

Monday, December 11, 2017

The Brewery part 3

My process was exactly like that of previous paintings.  I used a dark thin wash of paint to knock in all the shadow areas and built upwards from there.  There's a dark blue like a night sky in the window behind her.  This photo has a lot of glare because the light in my studio is only a couple feet above the painting.  That's one of the hazards of doing big work in a small room.  The painting is four feet square.

Friday, December 8, 2017

The Brewery

This isn't a picture of a brewery, but it's one I painted for an event at a brewery.  The same event that I painted the Steampunk Octopus for.  They wanted art that would stay on the wall for a month and featured beer.  Other than that they didn't care what it was.  I wanted to paint a fantasy art babe as I often do so I chose this.

First I took out this old life drawing which was too small to trace onto the board, but I used it as a model and copied it onto the board with vine charcoal.
 It would have been better if I'd drawn her smaller and added more figures.  Maybe she could be partying with a bunch of goblins and fairies, that would have been more popular.  But I had very little time to get this done so I simplified, perhaps a little too much.

Thursday, December 7, 2017

Maux Faux Part ...something...I forgot

If the story-line of this blog seems a little disjointed or non-sequential just know that it's a good deal more linear and structured than my actual life.

Here's a panel that I painted during the phase described HERE.
It is actually the twin to the panel used for the first Steampunk Octopus painting we did.  They were real-estate signs screwed on either side a big pole.  No I didn't steal them, the property developer knocked the pole down after buying the real-estate, but hadn't tossed it into the debris dumpster yet.  This happens a lot.  It's a rich source of painting material for me.  It's not that I can't afford at this point to buy a canvas, I could, but having used this kind of thing in the past I've grown fond of the idea.  It's part of my...part of my...idiom, that's it!

Wednesday, November 29, 2017

Desert Scene 7

A thin transparent glaze of yellow on all of the sunlit surfaces and a glaze of purple on all of the shadow surfaces.  Then a tiny bit of opaque color on the peak highlights and that's it for everything except the sky.  My big challenge with the sky was to make this big orange halo of the sunrise and then fade to blue without moving through brown or green.  I managed it by laying down the orange first much wider than I actually wanted it and allowing it to dry completely so no mixing took place.  Then adding a very opaque blue in several different shades so that very little orange could show through the blue and create a color mixture that way.  With the choppy brushstrokes I "fade" the color in with ragged, broken chunks of color.  The brushstrokes appear very lose, but they are much more calculated than they look so that they remained opaque.

I thought it was a big painting.  Look how tiny it seems on this huge wall!

Tuesday, November 28, 2017

Desert Scene 6

The sun will be rising just to the left of the main cactus there so I shaded objects on the left side if they were left of the sunrise and on the right side if they're to the right.  There's also shadow on the near side of things since we're looking right at the light-source.