Instagram Account Hacked

This is a small announcement to let people know that my instagram account was taken over by a foreign individual. It came as a phishing attempt through email that was regretfully successful.

Upon that breach the hacker changed my username, email and phone number and made it impossible for me to log in and sent me a message for a ransom for my account back. I imagined how these attempts go. First they ask you for a bit of money and then they take it all. I really doubt they leave you alone at any point after that. So, I just blocked the person and alerted instagram about the account and they are taking action to have the individual removed and the account, if possible, recovered to me, if not deleted.

Please be aware of this and learn from my mistake. Although this is not such a huge loss as I’m not an ally or fan of digital social media, it’s still brings security matters to high attention and it can become quite the stressing situation.

Other than that, please expect me to create more updates through the webpage as my sole avenue of official digital interaction.

Sebastian Crowe's Guide to Drakkenheim - trailer illustration

Here’s a breakdown of the work I did with Matt DeMino in Ghostfire Gaming under his direction. I was petitioned to do 2 images for the trailer, but due to time I had to do only one. Regardless the art work from the other artists is amazing.


I already had an idea of what I wanted. The briefing was very clear and concise so taking advantage of the office I just put a couple of lights up and took a few reference pictures. I chose the first and last image and took some more references from other ones regarding light. The most challenging part regarding composition was already over and I just needed to draw and paint. So I took a well deserved time doing details.


I sketched on top very broadly and did my own designs of the environment and other features. I’ve come into the habit of using myself as a model for some of my images and I feel like it’s starting to become a bit noticeable so I tried transforming the face as much as I could without going to far away from the character I wanted to portray. So I mustached myself…


For filling up the color I straight up Photobashed the image I had and painted over it. I thought to myself that this image was somehow very “cheat-code”, but I had a timeframe and I wanted to do something I was also pretty happy with. So I cut corners wherever I could.

Particularly with the window. I became acquainted with the perspective filter in Photoshop, and through a video tutorial managed to place a photo of an old medieval window frame in the background with the perspective that my photo reference was giving me and that saved a ton of time that otherwise I knew I would have been spending trying to get that window right.

Thanks YouTube. At this point I’ll never ever spend $700 on an online class ever again… lol

Here below, I keep on painting this one image. The only difference between version 1 and 2 is the character and the item floating away. So I just try to concentrate on the first character first since he’s going to be my base for the second one.

Since this was going to be animated I need to make sure to separate layers. I, as anyone else, hate working in layers because I feel that you lose some unity that painting into a single layer always gives you. And yes, you always work in layers in Photoshop, but there’s an early stage where I just merge everything and keep doing copies over the same merged image with changes. that’s all.

Layers that I was required to separate where the character and the background, but I thought it would be useful to also separate the front table with the items and then later on the crystal too as separate layer.

I’m taking a lot of reference from the images I took, but there’s one Aliens scene that I referenced some ambient light from as well, and as always a little model of the previous version of the character to keep things in line.

more developement

moar

Of course never lose your sense of humor. Matt an I have known each other for a long while so in any other circumstances this would be kinda inappropriate… ?

Below is the semifinal composition.

Usually I get very cluttered with things to do in detail filled images like this one, so what I did was to take out a bunch of post-its and write on each of them the items I wanted and needed to render and finish. Once I finished that I shredded it (which feels mighty good) and then went for the next. Otherwise my ADHD gets the best of me and I would have never managed to finish anything at all.

There was a post-it for the “Books” in the background, another one called “Scrolls”, “Mouse”, “Skull”, “Foreground Book”, etc. Whenever I had my eye in a particular post it, it would help to not veer my attention to the next unfinished thing. And just concentrate on that particular object until finished. This made my work very fluid by the end.

If you suffer from being distracted all the time like myself and can’t seem to focus when you have a mess like this, post-its and many other tools will help you to have your attention leashed and controlled.


Here are the final images.
clicky on them… :0


Go check the trailer for the book as well!

The Offering - Story and progress

In a far away village lived a young girl of red hair, and pearly skin. All men desired her and all women envied her beauty.

Once she came to be of marrying age a brave young man tried to court her. The act was so public that other men from the village became jealous and tried to not lose their opportunity, and courted her as well and madness soon unraveled. 

From gossip between women, to fights between men. All thought to have a chance. But the poor girl just wanted to live in peace and gave no man any attention. Day and night men would try to convince her otherwise, sent her gifts, composed songs and wrote poems to win her love. But none would be enough. She just wanted to be left alone. 

Until one night one of these men decided that it was enough. In a drunken stupor he went to her house, barged in her room and took her away. At the edge of the lake, he tried to convince her to marry him. That she had to make a decision, that she was being childish and disrespectful mocking all men with her denial. Who was she to think herself better among all! He forced himself on her, but the girl screamed and fought flailing her arms, scratching his face, but no one could hear her. 

At the edge of the lake, the drunken man, in desperation and rage hold her red head under the cold dark waters. Hoping for her to quiet down and to give in to him. She stopped moving. Thinking he was finally victorious lift her up with excitement ready to be married, but the life was gone from her body and so his love. In fear and shame from this revelation he slowly put her back in the waters and gently pushed her away from the shore, where her white gown, pearly skin and red head, danced to the bottom to never be seen again. 

Until next time a young girl, of red hair and pearly skin was born again, she grew older into a stunning young woman and men went mad once again. Suddenly crops started to wilt, fish disappeared and moved away from the shores. A putrid smell from the lake moved to the village and a strange mist sat upon it. The sun hid away, and all days were grey. The witch of the lake asked only for one favor.

Whenever a beautiful girl of red hair became of marrying age, the witch would claim her to herself. Or in punishment the village would suffer disease and hunger for ever. An eternity of misfortune until the witch claimed her girl. A big procession would resume and the girl would be offered. The witch would come and turn her into a fish, to swim with her forever, away from evil men, envy and sin.

Baldur's Gate Wizard Spell - Improved Invisibility Video

I made this image for the Baldur’s Gate Wizard Spell Challenge that I’m doing. And I decided to record the process, something I should do more regularly. It takes me around 2-3 hours to do one of these. I would hope it would only take me 1.5 hours (1 Work Block).

I used mainly 3-5 brushes.

This is the traditional sketch I did in a piece of paper. I took a very rudimentary picture with my phone and use AirDrop to send to the computer where I just put it in Photoshop directly.

that’s pretty much it.
All done from imagination. Which is a weird thing to say really. Strangely enough.

These are meant to be studies. They help me a lot to be more creative and innovative and not be doing the same frame over and over.

Here’s the final image.

Master Alchemist - Process and afterthought

The_Antiquarian_SAS.jpg

Master Alchemist. One of my most recent images, originally named “The Antiquarian”, named after its original purpose. I was thinking back at the end of 2019 to do a big painting with multiple characters (more than 1 for me) that had a big amount of points of interest and narrative.
The reason for that is because most of my paintings tend to fall in line with a “Bromy” kinda rhetoric that follows my anime taste. The typical 3/4 pose character that looks just “cool” and doesn’t have much going on than a sense of eye candyish imagery. Quite a comfort zone for me, I tend to fall in love with the neutral attitude and tie in something more subtle than a full scene where you can push the characters themselves in the back of the picture. Which is OK, but after a while it becomes a copy paste of all my images and recently I’ve gotten a bit bored of that.

The image started back in 2019 when I was taking a bunch of stock photos of myself for different ambitious projects I just wanted to try out. Many of them didn’t work out or just didn’t find the strength to persevere. My rule is that if you spend 2 or more months into an image you’re kinda missing the point. Personally I feel that I have a “short fuse” with painting and I burn my excitment way too fast, which is good at the beginning when you’re trying to imbue something with your own energy and vision, but later on it becomes a bit of a drag to keep going without it. So being very diligent with the “fun element” is very much a priority to maintain through out the entire painting process.

The Antiquarian ref.jpg

These are some of the images I worked with. Very simple. I just put the cellphone on the corner of my table standing up (most difficult part to do without a tripod). And positioned items around and played with lights I already had. I took the initial picture of me looking at the object and I just positioned myself around it as best as I could and then Photoshoped myself out of the images and paste myself into the original ones… sounds more weird than what it entails, but that’s it. Crop and paste.

The image I was trying to do initially was not about a magician or anything related to that. I was just thinking about this antiquarian guy investigating about a magical item that fell on his lap inside of his studio. There could be a bunch of curious onlookers or colleagues taken a gander at it or discussing, but the whole deal revolves around this one object.

As you can see I had a lot of fun and doing stupid “silly goose” faces is part of my unique charm.
You’re welcome.

The_Antiquarian_photo.jpg

This is the final image I chose. There were a bunch of poses I was really in loved with but I just like the main character folding over the object and putting so much attention to it. Looks a bit obvious in my opinion but works better in this case. Sometimes you just need to go for what is direct and this was it. With so many objects around we could afford just enough distractions to be entertained with the image without going “straight to the point” and leave.

Second character was very easy to choose. This guy is being cut by the frame and is a great way to just let the canvas expand and not box in anything. A major mistake I used to make in the past is that I just wanted to put everything inside the basket and it all looked stressing and compressed like it was struggling to be part of the picture. I think this is the only one where the guy cuts the upper part. So that’s that.

Third guy was a bit of a tricky choice but I like the break on narrative. The main guy is incredibly curious about what’s in front, the second guy is concerned and kinda upset/afraid researching the object and the third guy… I just like the classic pose of “duuuuuuude…!” as if something extremely delicate is about to be balanced over a pair of toothpicks and we’re all gonna go up in a mushroom cloud.

Fun stuff.

The_Antiquarian_SAS_referencesboard.jpg

I forgot to say that this image was stored for a while. I started doing all this banana back in 2019 and kept it stored for no reason. Then I took a class in Smart School with Greg Manchess in 2020 and whipped it out. It was a great learning moment, because originally I was a bit intimidated by the amount of work that this image had the potential to have. I could see the myriad of objects and the huge array of colors I could put. So I took it out and let “The Man-Cheese” take a jab at it. He helped tons.
Thanks Greg <3

As you can see above. This is my mood-board for the image. I came up with it in the class. There’s no need to do this. I just like Pinterest a lot and I just felt like complementing and getting extra ideas instead of being so straight to the point and no foreplay. I honestly liked it and helped me tons to get excited about it. I do recommend doing this. and I will try doing this from now on with every image.

And God knows that’s a lie, because I’m a lazy cat.

The_Antiquarian_tracing.jpg

Next comes a light general tracing of lines that I care about. Something very light and on the surface. you can notice in the back, the edge of the door and the picture frames helped me to get a perspective and for the guys I took a general tracing to the shape and shadow edges. Of course the hands are important so doing every finger helps tons with gesture.

I remember tracing being a point of contention in early social media with artists, but people have talked so much about it that now is kinda “BrOhH, WhY yOu No TrAcEee” and it’s actually kinda dumb to have such a good comp that is so originally made and not take advantage of the main lines. I personally used to be a big baby about it too, and I would hate it when other people just claimed that they invented everything out of their genius coconuts and they didn’t used any pictures. Like if their grandma is going to come with a stick and whip ‘em in the butt claiming shame to their family and their cow... (Mulan reference).

I do still think tracing has its cons. Sometimes you box yourself into a problem. And I consider in this case that my main issue is that I created a comp out of the reference and not the other way around. When I’ve done the opposite (sketch a composition first) I tend to get a more natural way of solving elements and everything is tied in. Even if you measure it with a ruler and you figure out that something is wonky, from afar it looks like it belongs. But when you take it all out of the picture, you really need to be either a good photographer and director, or just take in the most basic elements. Which I did here.

The_Antiquarian_rough.jpg

Then I just figured out the rest of the elements. This is the fun part. I just like imagining and playing with what I’ve got. And also I realized here the main mistake I did. I was really hooked up with doing a door frame. Like something with ancient decoration, but then on you’ll see I just didn’t have the brain power to do something beyond it which was kind of a loss for me. Also, the wall closes in right behind the characters and then it opens itself way to the back as if we’re in the middle of these ancient libraries like the ones I picked from the references. This in my opinion almost didn’t work. I managed to sell that effect of the wall ending but it’s still kinda confusing. Apart from that a few tangents show up by the end and that was a bit of a drag but, whatever. You live and you learn.

Also here is were I take the decission of making this a “Harry Poterry” theme. I think is way more funny and interesting that this guy is an old professor and it’s looking a the wand one of his students was messing with, his face is of true interest and I like the theme, that even tho you’re an old veteran you keep getting excited about stuff and always eager to learn and be a student over again, which I also add later on a little detail with the green wrist beads they have, which they all have as part of being students.
The book the second guy is holding in his hand ties in with the situation and then I thought that it would be also really neat that his face is all charred from the wand blowing up. So you see his eyebrows and the beginning hairline charred as well which is funny. Also the guy in the back makes sense now cause he’s going like “Omg Greg you f*ckin noob what have we done we’re gonna get expelled”.
I honestly think that if I kept on doing the initial topic it would have come up as bland and boring. Like so evidently a challenge in skill. “Hey, look at all the items I can do, I’m so good at the painting thing, look look!”. Like… so what. Here’s also Chase Stone. Go home, you’re drunk.

The_Antiquarian_sketch.jpg

And here I attempted at doing a clean line.

I always have this issue with not doing sketches well. My spirit animal is a fat 2 months old golden retriever and I just inhale food and then I just complain I’m fat and my tummy hurts. And painting is no different. So I decided to be all zen and take my time for once, because I know with this one I cannot be in the middle of the painting figuring out what’s what. Too many objects, it’s kinda complex, this is not my typical 1 character on the wall kind of illustration. So I needed some structure.

I also did a quick mesh perspective with the Carapace tool. It’s very rudimentary but it helped me to figure out a few things that felt off in the background.

The_Antiquarian_SAS_colorcomps.jpg

Now for the color. I think I did all this in one class with the artline. Coming up with these is not difficult at all. And I never ever ever do this. So it’s a good opportunity to slap myself in the hands and call myself a silly boy in the mirror for not doing it enough. You can already notice which one was my preference.

I decided to do the thumbnails in the middle first, and then with the help of some images I found on the InterWebz I color picked some tones and played with them. Then I created those extra little comps to figure out some things better. When you airbrush everything you kinda miss the point with the colors so I just went kinda Malevich on this one and made it more evident.

I think it helped… maybe it didn’t.

Who cares.

The_Antiquarian_colorcomp.jpg

Multiply lines on the top. Color on the bottom. That’s how it always goes. Why. Because it’s super easy. And when painting traditionally I kinda do the same with a surface wash that makes you still see the lines. So you can position general colors and shadows here and there and then painting on top of that is just a pleasure.

The_Antiquarian_adv1.jpg

I think I separated the characters by layer, but I just end up painting everything in one layer and what I keep on doing is that I copy that layer again on top to keep the history in case I overpainted something too much and I just want to go back. The PSD’s end up being kinda heavy, but if you have a potato for a computer like I did (hehe! not anymooooooore!!! yehhhh) then you can always put the last layer on a new file and name it _finalFINALdefinitiveTHISISTHEONE-finished_02.psd… you know the drill.

Like many other illustrators I HATE painting in layers. Yes. If you’re a company looking to animate something and do parallax please pay your illustrators a bit more for the bother. It is a huge waste of time for those who paint like this. And painting like we do is not a bug, it’s a feature. So just be understanding. Thanks. <3 much love.

Final Image… you can click on this one btw.

And then you paint non stop and that’s the end.

Corrections and some highlights:

  • I fixed the angle of the wand. Back in the old version the wand collided with the corner of the lamp and that was super awkward because it created this weird wall between the characters and the table. It was just a little bit and now it doesn’t look so disconnected.

  • The replacement of the weird stick in his hand with a feather and the angle too. I was just trying too hard with the weirdness.

  • The brushed on the right I also corrected. They look a bit stuck to the old mans shirt and that was kinda wonky looking, so I added more lights and volume and a different value.

  • Adding more items in the front helped way more. It looked a bit too staged, when you have nothing coming from the foreground and suddenly all the things come into the view. So I put some dope items there and it just looks better.

  • I also decided to put some curious items. Like the Tree of Life as a card in the book, some bronze owls which is a bit of a recall from my family that collects owls for some reason. And I also took the weird decision to put drugs in it too. Why not. It’s my painting. I put salvia on the front, shrooms, cannabis on the back, some more salvia and the beam on the bookshelf is an ayahuasca looking design and on the right there’s an ayahuasca looking tea as well! Super dope dude. I was gonna put some more stuff but then it looked like I was trying too hard to make the cool kids like me.

I wished I could have solved the door frame better. I have now some better solutions for this image but Greg and the rest of the people told me that was alright and I was overthinking it.

I think I learned a lot. And it really helped me with my recent Magic: The Gathering work to become way more consistent and more orderly and not jack around like a noob. I’ll definitely will do more stuff like this. I had a lot of fun.

On price fixing pt1.

This is an old post back from 2017.


Money,
is one of the most complicated topics to discuss. When I went to the first Industry Workshops that took place in London I took care to talk about it in an open Q&A at the end of the second day. My question was simple. "How do I know how to value my work", my question was also followed by an argument related to the complexity of price fixing when you're "just starting", take it as early first 2 years of freelance. This was very important for me, since by then I was through my 3rd year of freelancing and I've been through the worst times in those rough first 2 years. The complication rises when your portfolio quality starts to adjust to a mid tier market client and becomes appealing to a more massive crowd. But you're still considered as a mid-low  rank artist and many of those potential clients are not willing to pay much for the work, and at the same time hope for a high quality of work.

Portfolio pieces usually by then, come from a personal area. They're generally not related to client work and we usually take a huge amount of time to finish them as "the best work we've ever done". The problem with this is that clients do want this quality of work, but are unwilling to pay for the time it takes and you end up working for less than you would want.

The amount of payment is not the problem by itself as many would argue, but the time spent on every piece that gets that payment. For example, imagine a young starting artist to be charging $250 USD per illustration. This illustration is a simple character, not too detailed (fitting to the experience of the artist) and a simple background (blurred general landscape, skies and clouds... you get the idea). But the client is not willing to go above $100 USD (which is a quite common price I've experienced at this stage). So... let's do math.
For $100 USD per image, let's say this is a constant (something that rarely happens at this stage of said young artist) In order to make $1.000 USD a month he would have to make 10 illustrations a month, which means that every week he would have to create 2.5 images if not 3. That's almost 2 days per image if you count Saturdays as a week day, and only one day to rest. Also, let's count that client's response needs to be as quick as possible in order to make this thing possible.
In realistic terms if the client takes 1-2 days to answer the corrections and updates, it would be impossible for this young artist to create such an amount of work without losing his mental stability by the end of the second week. And let's not forget about studies. Not only he needs to pay rent and buy groceries, he needs to get out of this hole of low tier wages to climb up to better payments that can give him sustainability, mental stability, and time for studying. But there's not time for studying unless he sacrifices Sundays. By then, this young artist will be stressed, amazingly depressed because of its underachieving exploits and thinking seriously on going back to his parents basement, if he hasn't already.
This is quite an exaggerated example, I know. But it happens. I've seen colleagues go through this and get stuck through a couple of years working for the same low paying client and not advancing much in their art, while others simply skip this part and "jump the fence", sort to say, to the next better barn, that's gonna allow them to work less and get payed better. I do take this period quite critically, since it's sort of a real race towards stability.
But many artists that do come from an educational background that has to do with the actual career path they've chosen to pursue, don't experience much of these issues. But many of us, also, didn't have that choice or that chance to choose an adequate education. Those people, who didn't have the chance to be ready by the end of said schooling, tend to learn the rough way. The way I've been describing. By themselves, at home, spending money in online education, and hours and hours of dedication every day for years.

The answer I got from the workshop at the end of my questioning was very vague, but they did answer: "You have to compare yourself with your peers". It's not much, but it works. When you look to the side and you see other low tier artists already working hard with their low wages, in the other extreme high level artists charging what they want, you have a huge middle ground to mess with. But the question remains. How do I know how to value my work, where is that sweet spot to make people like my work, and pay for it without making them scare away.
My answer to this so far is "I don't know", the reason for that is that there's no straight answer, because it takes time and it depends on every artist. I might say though they're different variables that can aid you organize your price. The way I've been doing this is the following:

I divide my price in 3 different main topics.

  1. Design value: (what's my value as an artist) This is sort of a price that has to do with my self value and related to my peers, how do I compare in a very crude way, if I'm worse or better. I'm not saying that through this I get to decide who is better than me or worse than me, but the point is made when you charge less than Donato Giancola and more than a kid that just left school and doesn't quite know fundamentals. There's an ethical value to this element too. You can't charge less than the kid, cause than you'll end up taking the kid's potential work, if not, creating the conscience that there are better artists willing to work for less. Neglecting the young artist's work and making him go through a longer period of study and no monetary gain whatsoever.


  2. Time: how much time is the work going to take, there's a difference if the work is gonna take me a single day (simple group of sketches) or a couple of months or more (book covers, advertisement work, etc). That time has to be paid for the only reason of becoming sustainable during said time. This is the most general basic term for "complexity of the work". In my first years I used to value my work in different topics. A popular technique, that you can still see around community galleries (such as Deviant Art) where artists have a list of prices for different types of commissions (sketches, head shot, waist up colored portrait, full body, scene, etc.), which in my opinion is a effective way of getting work, but grows rather short for more complex types of freelance, said 7 inside full page book illustrations, that some of them have multiple characters and some others don't.


  3. Use: There's a difference in price, if there's a very excited young fantasy writer trying to get his first book self published and wants a cover from you, than the big publisher company based in London that's gonna make millions of copies plus merchandising and advertisement with said image. There are many forums out there that touch these sort of topics in a more specific way, with some calculations and average wages. Also I do recommend talking to more experienced illustrators that have been doing this for way longer than me. At least this is what I do.

I'm gonna be posting a Part 2 of this blog entry later (maybe) with more specific data and some calculations of my own in order to create a better idea on how to price fix a specific image through a very clear example. I'm gonna try to get as much data as I can and post it openly. In the meantime I might post some other thoughts and records.

Baldur's Gate Wizard Spell - Hold Undead video process

First video I edit on a speedie I did for my Baldur’s Gate spells. I would want to do more but work beckons. I did this through OBS Studio and edit it through DaVinci Resolve. Very straight forward editing tool. Took me a few minutes through a tutorial on YouTube the get the hang of it.
Observations:
- I want to keep the painting to a shorter time, this one is 2 hours 30’ or so, I think the time limit should be 2 hours maximum, otherwise the speed compression gets a bit out of hand and the video starts getting a bit too long.
- I want to find a way to put a decent music track in the meantime for the next videos
- I want to also add some good notes on some parts of the video that might be useful to others.
- I want to come up with a plan prior painting, it would be very useful. Also maybe a freehand sketch so I’m not struggling in the middle of the painting like I did here, would dramatically cut the time down.
- I want to keep it loose, I understand these are fast paintings and shouldn’t be rendered. The objective is to depict the spells in the game I like. If I commit a mistake or something I don’t quite like… well, that’s alright.

I don’t think I’ll be doing tutorials or gumroads anytime soon. Not yet at least.

Knowledge should be free.

Ghostblade Duelist Process - En Español

Apologies in advance to those who don’t speak Spanish. I had this tutorial from back in 2016 and I created it for a blog for Latin-American artists and I’m not really about to translate it. But no worries. The image progression itself is self explanatory, there are no big secrets, so no biggie.

Plus, maybe it’s a good opportunity for you to get motivated to learn one of the most used languages in the world. Not a bad idea either. Spanish is pretty cool.

The Spirit Tree

 

Berillan is a town known for very few things. Commerce related to goat products, like wool, milk and cheese, its breath taking mountains, and the Spirit Tree.

 

Long time ago, a shepherd, walking up the mountains, hurried a bit its pace as he looked for one of the goats that happened to lost its track. This particular goat had been giving him much trouble lately as it became the favorite pet of his three children, making the animal very unpredictable and hard to control in the group. As the day progressed, he felt the air get oddly warm and a thin drizzle started falling gently, a heavy cloud begun to cover the top of the mountain, most likely promising an imminent storm. The shepherd knew this and he hurried to bring the whole group to a refuge nearby. A slanted cave on the side of the mountain. Trying to make his mind forget about the missing goat, he went to sleep as the rain fell with violence outside.

 

Next morning he woke with a strange feeling. He looked around to see that none of his goats were there. Picked up his things quickly and rushed out of the cave to realize they were all gone. He immediately set himself to look for tracks and prints and picked up a trail. They went up in the mountains in a single pattern. Curiously enough, they didn’t seem to have been running away from anything, they just walked away. That made him feel more relaxed but concerned at the same time. Not giving it much of a thought, he got on his way.

 

Later, around noon as he climbed up the ledge of a rock, he saw something that called his attention. Not far away on a similar ledge, was a tree. The only tree around the area. It was big and thick with leafs, a white bark contrasted the dark stone on the ground. A feeling of comfort got in his mind. Perhaps his goats headed there to nibble on the low branches or to look refuge under.

 

Hours later after a big turn around and struggling to find his way, he managed to arrive to the place. The tree grew right on the edge of the mountain and seemed to have taken root through the ledge, separating and breaking the rock under it. Seemed like a dangerous place to be, as the ground looked like it could collapse under his feet. But he came close nonetheless. The tree was at least thirty feet tall, and had a soft white curving trunk that came up as twisting itself into the misty air releasing its branches out with a playful nature. The leafs, light green, almost gray, but seemingly soft and tender. Most likely the tree is surviving out of the moisture of the air. But however it managed to be here, was a true mystery. He felt compelled to touch it and go around it. Carefully getting close through the broken ground, as he reached for it with one hand, he heard a bleat. Right behind him, he stopped and turn. There it was, the missing goat. Looking at him and nibbling around dried branches in between the stones. He immediately went up to it and looked over to see the rest coming in a group behind a hill about a hundred yards away. He was so relieved to see them again that he completely forgot about the tree and headed back in a heart beat. But as he began his descent he took a short glance back to see it one last time. And there it stood, beautiful and strong. Fighting to survive right at the edge of the world. He felt a compulsion to go back and try to touch it again. He would definitely return to spend some time there, maybe he could take some of the bark to make a figure out of it, or a branch for a beautiful staff.

 

Weeks later the shepherd headed back up, into the mountains, without his goats. He told his wife and children about this beautiful tree, up in a ledge, and how majestic it was. He wanted to pick up a branch to bring it to his family so they could see it with their own eyes. His family was very excited and looking forward for the gift. Maybe they could take some seeds or a root and make it grow in their own village. Everyone would love it.

 

As the day went by, he tried to mimic the trail he took the last time. And eventually, with not less effort, he arrived to the first place he saw the tree from. But to his surprise he saw nothing. It was a clear day, no clouds in the sky. And he could recognize the ledge where it might have been, but it was absolutely empty. A few hours later he arrived to the location and thought the ground might have collapsed under with the tree. But as he came carefully to the edge, he noticed for the first time that the drop was huge, and at the bottom nothing but dark rocks. Desperation sinking in, as he stepped back carefully, he gave a look around to see if he was in the right place. Turned back to see the cobbled ground, where he saw his missing goat and recognized the hill where the rest were coming from back then. As he looked up in the mountains he could notice a small change in the wind and some clouds forming on the top. In between the mist and the peaks, far away to the top, he noticed a tree. Sitting on what seemed to be a ledge. It was a similar tree, a very similar tree. He smiles and a warm feeling fills his heart.

 

A couple of days go by and back in the village the family of the shepherd grows weary. A group of men is ordered to search the man and bring him back. People start talking about a possible accident. The family gives a description of his clothes.

(...)

The Sprit Tree sketches1.jpg
 

Cloud Dragon - Process and afterthought

 

I'm going to do a little description and process of a particular image I made recently. I liked the synergy and development of it. I think it went pretty smooth and fast in comparison to the majority of my work, so I'm going to try to break it down a bit in order to understand the things that went right and then try to replicate those good things in other future images.

Dragon_sketches.jpg

First came the sketching process that I actually made a while ago. I'm looking into creating a Magic The Gathering  style of work and I'm analyzing composition and framing as  a main objective. Sketch number 8 is the one I chose to paint in this case.

Cloud Dragonprocess0.jpg

I think I chose this because of the easy composition and straight forward topic. Just a dragon on top of a rock. I think it's because it gave me more freedom to comfort zone with it and have fun with the painting process rather than trying to do something more magnanimous and complex.  

backA.jpg

I happen to stumble upon some color reference I have in one of my Pinterest boards. This is a concept art piece done by Laurent Ben Mimoun for the Disney movie "Tangled". I thought it would be a good idea to do a similar palette. I could already see the dragon sitting on the stone and a nice hue variation going through it. I like the pink color, I don't think I'm too adventurous with these kinds of palettes so I thought it was a perfect opportunity to give it a try.

Cloud Dragon brushes.jpg

I have a huge selection of brushes but about 20 that I selected in my tool presets board. Out of those I think I mainly used these 4. 

First one is a very old one I got from Richard Anderson's brush set, I call it the "Flaptraps" for obvious reasons. It has a nice wide spread, subtle texture, and a slight colodynamics that makes it ideal to make a first pass on the canvas. 

Second one is a brush I got maybe from the Jaime Jones set. I've seen it around in other brush sets, but I tweaked it with some shape dynamics and flow. I think I mainly used this one for painting the shape of the dragon initially. It has a good inbound transparency and a streaky texture that looks very traditional to me. I try not to use full transfer on this (50-60%), since I wanna be able to make definitive brush strokes and not think about making a second pass to redo the tone or color.

Third brush is a simple round one for rendering. But this one I got it from Karla Ortiz set. I think it has a perfect setting to give that flowy blurred edge and a perfect transition for rendering smooth shapes. I used this primarily for the clouds and some other areas.

Last one is a slanted brush I came across a set I can't remember from, but it might have been Jaime Jone's (Jaime Jones set is absolutely magnificent, I do recommend checking it out). I think I tweaked it to make something very painterly and smooth, I did this a while ago but I think I love it now. It has full pen pressure and flow and a texture added to it. Somehow it still maintains a hard and definite tone to it which is great for stroke making. Look at it, that's some dark stuff.

Cloud Dragon process1.jpg

First pass is always the sketch, but the background here as observed in Laurent's image, has a hue transition that's very clear. I didn't color pick this. I just try to get the colors about right. I saw evidently a deep saturated blue that transitioned into a grayish green (most probably because of the color mix with warm lights from the dusky sky). Below we see a colder tone from the shadow of the sun not being able to reach that low point now.

Cloud Dragonprocess2.jpg

Clouds are "white", and they directly reflect the color of the light that's being emitted from the sun going down, and as observed these 3 colors jump ahead.

Cloud Dragonprocess3.jpg

The shape on top is nothing but a mix of all these colors. I thought it would be cool to keep the shape as a white or clear figure, so it makes sense with the environment. Plus a white pinkish dragon seems cool to me.

I added a burnt brown for the rock on top of the blueish background. I try to be sloppy with it and not to block it that much since I want that hue transitioning in between the streaks creating some unity with the whole painting.

Cloud Dragonprocess4.jpg

I keep on working on the shape. I add some design elements to it to make better sense to it and have fun with the shape. I try to make it interesting and particular. It would bore me to do a random normal dragon.

Cloud Dragonprocess5.jpg

I do a small adjustment to the saturation here. I think maybe added more Vibrance and played with Overlay on top. I know how many artists consider Overlay to be a  dangerous setting and how it messes up with the controlled values and colors. But at this point I'm not really controlling anything and I love how overlay gives me a saturated edge to things I wouldn't have put there by myself in the first place. So it's a nice gap closer in my opinion.

Cloud Dragonprocess6.jpg

Here the rendering starts to be defined. I try to leave the lower part a bit sloppy and try to concentrate on the whole figure. I love the wings but I think I would have overdone if I spent more time on them really. I don't like fully rendered things. I like to be able to see brush strokes that simulate shape and light transition very roughly. The square brush I have is somehow perfect for that and made my job super easy with this. It was just lovely to paint that part. So much fun.

Cloud Dragon final image

The final image is pretty much a rough version of what other images in my gallery might look like and maybe doesn't look to polished but I feel it has a better effect and result than many of them. I'm surely staying away from over rendering shapes now, and I love happy accidents that brush strokes give me, that blocky feeling of shape developing that has not too much thought on it, but most definitely a sure and solid approach to composition and information communication.

I'm really falling in love with this kind of painting, adding final details here and there in form of streaks of color variation that give the whole shape a more natural feel. Something I value greatly in Donato Giancola's work.

I think I'm finally understanding the idea of detail insinuation rather than detail rendering. I think detail is very important non the less, and there should be a balance, but is amazing how much can you do with little of it as how much noise and distraction can you add to an image that could have been so much more without it.