Tab#5, Had to change the head. Just wasn’t working. More marker work and a little clean up.
Tab#6, Much more marker work using the scrappy marker brush to build up more form. Then following with the round brush to add in even values of shadow and highlights. Sheen was built up with the scrappy brush set to a larger size and a low color depth, it also helped to build up skin texture when you work it into the convexity of the form. The air brush set to scatter was used on this tab to put in some texture and pour like shapes on the feet, and into the shadow areas.Large wrinkles were done all with the marker bushes and the patterns were inhances with the scrappy marker making sure that the high points got a more intense value and pop while the shadow areas recieved a coat of shadow color picked from the canvas and applied using the round marker brush. Smaller wrinkles on the feet were made using a small scrappy marker brush first building in the major forms with a base color and a shadow color, then highlighting them. Some perspective changes were made to the background arm with the smudge brush, by sellecting the canvas color and pushing it back into the claw, and forarm, i was able to change the shape quickly and continue painting.
Tab#7, I flipped the image horizontally and did some shadow and highlight correction. Detailing the inner elbows and knees, adding in a bright orange side light and adding a cooler tone over the shadow areas, all with the round marker brush. I couldn’t help putting in a quill like mane. Im begining to like her facing this direction now.
Tab#8, I copied and pasted the previous tab to begin then next steps. With it zoomed in a little more I began adding details and color to its horn and the rattle quills on the hump of its neck. Zooming in each time to get some smaller elements pulled out of the existing forms. Flipping it to check the shapes and shadows often.
On the same tabs base layer, I started to lay down some color for the background. I started with a blank white canvas on the bottom layer, and scrubbed in some base colors with the scrappy marker using different sizes.
Tab#9, The red stones and other colors were added with the round marker brush and do a great job of preserving that scrubbed texture which was added first. Im working on the bottom layer for this, while the top is visible. After getting the bottom layer based out with color and some form, side ligting etc I used a stencil created from an image of a sand dune with high contrast and no color. I painted thru it to get the highlights of the sands edges, thats all that was needed to continue painting.
Tab#10, For the clouds I used the water droplet bush in the watercolor tab, and blended the colors into a nice mix of shapes. After blending, I used the scappy marker to put some tighter form back into them with highlights and some deep blue/black depth…
Tab#11, It’s time to commit it all to one base layer for final intigration, touchups and details. I copied tab 10, to tab 11. I select the top layer and bring the transparency to 50 so I can see the white of the canvas its painted on. I erase the white using the basic eraser at full color depth. This lets me put the top layer at 0 percent transparency preserving the best color intensity. I selected the bottom layer which is set to 100 percent transparency and in the edit tab select merg layers. With all the work now vibrant and on one layer I start picking color from the canvas and painting. Melding the figure and the background together. Im using the burn brush, saturate, and the markers to add more depth, shape and new shadows that work with the background lighting scheme.
Tab#12, Alot more tightening up of the background stones and the creature. more shadow and blending him into the scene. used the smudge brush to work the shadows of the stones, and the round marker brush to get a little more depth in the shadows of the creature. an all around polish. this one is nearly done.
Tab#12a, More polishing and placing of shadows, smoothing out some textures with the blur and smudge brushes while adjusting the position of her shadow. I also changed the intensity of the largest stone, pushing it back in the scene. it felt a little close given the placment of its shadow.
Then I asked my self, what is she doing in this place?..she’s eating of course, with that glassy blue tounge coming out of her forhead. Cheers.