How to Create Effective Fantasy Art
In this article, I will tell you about how to create a spectacular art with a character using a minimum of colors, traditional materials, and Photoshop.
Any art is born in conditions of limitations. In this, you can find a sports interest – to contrive to use a minimum of materials and get the maximum effect. Today I want to create an impressive work using a limited palette.
Studying at the art academy, I tried all the materials in a row. I could not find my favorite material until I tried the mascara. I was inspired by the creators of comics and cartoonists, and I enjoyed the fact that I can convey any mood and atmosphere with only a jar of black mascara in my hands.
Recently, I began to slowly return color to my work, while not forgetting why I love mascara. The advent of computer graphics made it possible to experiment and develop a sense of color, although I still love traditional materials more and still work with them.
Consider Different Ideas
Here I quickly sketched out possible future work concepts.
I draw in a sketchbook or on plain paper, trying to make sketches as quickly as possible and not sit for a long time in front of a blank sheet. Often this stage is the most difficult because for a long time I can’t decide what is the point of laying in my work. Sometimes it makes sense to write keywords to relate the sketch to a specific idea, story or mood.
Decide on the Concept
Details determine if the concept has a future. After I settled on a single sketch, I draw an extended version of it with a lot of details. This is necessary to evaluate the volumes of light and shadow, and also to make sure that the idea has a way to develop, that it can be brought to mind and presented to the client. The main thing here is clarity.
Create the Final Form
I made an extended version of the outline. At this stage, I finally determine the shape of the figure. Sometimes I enlarge the sketch on the computer, print it very pale and draw on top. Another option is to redraw the sketch you like on a blank sheet.
The choice of method depends on how much I like the sketch. I redrew this drawing from scratch and made it larger. Then I will be able to choose how to frame it, saving the format necessary for the client.
Play with Light
Copies are needed to experiment. After I created the final version of the picture, I scan it and print a few copies to try different types of lighting and composition.
When the choice is made, I draw the markup with a pencil, so that later it is easier to work with mascara. This material is merciless, and therefore it is better to know in advance where the darkest elements will be placed.
GO TO AQUARIUS PAPER
Try not to do mindless copying. I transfer the drawing to watercolor paper, laying it on glass and illuminating the bottom of the lamp. In the process, from time to time, I intentionally turn the lamp on and off to make sure that I am doing everything correctly. Otherwise, mechanical copying may deprive the drawing of naturalness and magic.
START DRAWING WITH Mascara
Putting a tone, go from dark to light. Finally, take out the brush! For car wash, I choose Sumi Ink mascara and dilute it with water in various proportions. I always start with the darker part of the picture. Then I can check with her, remembering that the tone should no longer be darker.
7. PAINT THE WHOLE FIGURE
It’s important to paint the whole picture. When I draw, I move from fragment to fragment, trying not to spend too much time on one piece. It is very important that the drawing is completely covered with mascara on at least one layer because it is too easy to get carried away with one detail and spoil it with excessive attention.
8. CREATE VOLUME
During work, I fantasize that I am taking an image from underground. I like to watch a picture emerge from avoiding a completely blank sheet. I imagine that my brush dispels whiteness, revealing a three-dimensional object to the whole world. Fill each corner of the picture with ink, adding depth to it.
9. LEARN TEXTURES
Try realistic portrayals of shabby steel armor
Putting on the last tone, I’m already thinking about which textures I will need. In this case, it is shabby steel. She was not at the pencil sketching stage, but now mascara can do the job. The strokes themselves go in the right direction if you trust the material.
10. ADD COLOR
It’s time to tackle the scary part of the drawing
Most of the work has already been completed. I left the central area blank because it scares me. The success of the whole work depends on how convincingly I portray the glow here. Now you can connect watercolors to your work because it was not in vain that I decided to return the color to my work.
11. HIDE FAILURES
Sometimes things don’t go the way you want
I do not like what I just painted in watercolor. I have too much confidence in this material, believing that I know it well enough to create the desired effect. Apparently, at first, it was worth testing the watercolor on a draft, as well as choosing colors more carefully. To correct my mistake, I smeared the bad spot with mascara. Black color hides sins and makes it possible to start all over again.
12. TRY PLAN B
The error can be corrected by taking another material.
I took white gouache – the material that I know much better. Then he painted the glow again. Later I will give it the right shade using Photoshop. Once again, I walk the brush over the drawing, painting the details. This stage of grinding can last forever, but soon I need to give work to the customer, and therefore it is time to scan the picture and bring it to perfection on the computer.
13. GO TO PHOTOSHOP
High resolution allows you to print a larger image
I scan an image with a resolution of 600 dpi. This will allow me to print a larger image if necessary. Then I adjust the contrast and levels to bring the picture closer to how I see it in reality. Something inevitably gets distorted when scanning.
14. ADD LAYERS
Lighten and Darken tools perfect tone
I adjust the tones with the lighten and darken tools, then add layers for each color element. Since the drawing is already filled with ink, I can only change the shades using blending modes in Photoshop. The modes of soft light (Softlight) and overlapping (Overlay) are useful to me.
15. COMPLETE THE WORK
Finalize your light and composition to complete your work.
I experiment with different color combinations by moving the Tone and Color Balance sliders. As soon as I finally determine the colors, I concentrate on the light spots that I painted with a soft brush in Photoshop. I add burning edges to them to emphasize the illusion of a glow. Now it remains only to crop the image to the desired format – and the work is ready.