Friday, September 11, 2015
This was my first commission, and it's for Adam O. Largely inspired by Memoirs of a Geisha, Miho from Sin City, and a previous piece I did called Lyssa. Japanese letters brush from touch-and-go. Photoshop.
No long-winded description this time. But if you have questions or thoughts, please comment!
|Pose and basic clothing for silhouette|
|Pose wasn't satisfactory|
|first draft colors|
|Frank Miller style|
Friday, August 28, 2015
Wednesday, August 26, 2015
You can listen to the adventure here: episode 1 and episode 2.
|thumbnail of chainmail brush|
I didn't know I was going to take this art to full painting phase. It just started with a morning sketch and I kept going when I heard the response from the group. Eon turned in her character at the last minute, so she was drawn last. You can see the maester originally had a cohort, who was secretly an undead minion, ala Qyburn. But that was dropped as I warned her of the ramifications if such a secret was discovered in-game.
If you're interested in playing the adventure with your own gaming group, here is the pdf homebrew module. It's short and encapsulates the essential themes of Game of Thrones. The adventure is called The Second Whitewalls Rebellion. The notes will be a bit different when you ready them, as I improvised throughout the game and especially at the end.
Saturday, May 9, 2015
I wanted to paint Cersei squaring off with a Gregor reminiscent of the Hulk. Thanks to thehyenagallery for suggesting the title. This is from the scene in Game of Thrones season 4 episode 7, Mockingbird. You can watch a timelapse of the painting process here. Photoshop.
Black and white values, either from your pencil sketch or speed painting. I usually do shadows on one layer and highlights on another.
If you skip this and first paint in color, it’s wise to check your values by adding a B&W adjustment layer.
Then base colors that we’re going to put our highlights and shadows onto. If you’re separating stuff into layers you can change the base colors later without altering your shading hues.
What you don't want to do is just use black to darken areas and white just to brighten. You may notice the result looks dirty and the color starts to fade.
Sometimes doing it wrong is okay if the result is something desirable. But with ‘art’, you should learn the rules before you can break them.
For yellow hair, I used red-orange for the darker areas. Choosing a yellow that’s not too yellow for the base color left me room to make the highlights really yellow.
Other areas to compare to the previous image: under her chin, the light areas on his beard, the vibrancy of his tongue, and the pinkness in her lips.
|Shading with color|