Hard drive shut down. Bringing it to a friend to install a new one. Traumatic..."Good bye. Take care. Please come back to me.."
Wednesday, October 15, 2014
You can see how well the colors are mixing now that all that black is gone. And that's how it would really be in Nature. I love the color of the background. I love grey. My friends probably think I'm crazy because, yes, I do wear a lot of neutral colors. But you see, pure saturated colors pop off a neutral gray; when I paint traditionally, I mix my colors against a grey palette. I'll never paint without that. It's a tablet of small sheets of grey called Grey Matters Paper Palette (Jack Richeson & Co. Inc) and what works with traditional will work with digital.
Now that I've already worked out a drawing I really like, have a "schematic" for my lights and darks (which I refer to all the time to make sure I capture the original intent of the black and white and I do have that version up all the time to reference when I apply the color), all I have to do is choose my saturated color shadows and continue to render everything in color. I know better what to expect and the illustration does not "run away from me" because I am wrestling with everything all at once.
Okay, now for the business at hand here. I am teaching myself the process of digital painting, which, I am finding out is VERY different from traditional painting. First stab at digital is to establish tonal values and tell the story and mood with light, seen in an earlier post. I then took that black and white and added color. Mmmm....the results are, as you seen at the top, drab, drained, dead. Ick. Yuck. So I decided to do a completely different tonal value start, this time with my beloved sepias, the way I would with my acrylics. In traditional shadow; I use Burnt Umber and Alizarine Crimson with either Cad Red Light (for warmer shadows) and Manganese Blue (for cooler shadows); but for this illustration I chose a brown in more of a yellow range, not red. Yeah, I painted it again, but in Photoshop, it did not take very long. The steps and knowledge were already rehearsed. And now I know why many of you, when you paint your illustrations, the color is like it was for me; dead. Start with sepia tones, not black and white.