Potraits

Now that I'm between writing projects for the moment, I have a bit more time to paint.

Mostly, I paint for my own enjoyment, but on occasion I do take in comissions, in this case a couple of portraits. And since I had the old (very old: it's coal-fired and steam-powered!) digi-cam out, I did a step-by-step.

1) Sketch:

I start with earth-tone oils thinned waaaaaayyyyyy down with turpentine.

Gotta work outside with this stuff, since inhaling the fumes can lead to brain cancer. At least, it can in the state of California (according to the warning labels), and a brain tumour did kill my painting teacher. So that's me, outside in the cold weather, whipping and slahing around with my brush.

I started with yellow ochre, then as my drawing took shape, firmed it up with a little burnt sienna. Reason I use earth tones is simple: they cover easiest with other paint. If I'd done the drawing in blues or reds or something, they'd tend to ghost through.

After the drawing's done, I let it dry for a week, and....

2) Background:

Pretty simple, lots of greens to bring out the reds in her face and hair. The girl herself is kind of strawberry blonde, but that big ol' strawberry up next to her head reflects red lights up all over that fair skin.

I kept the background simple so as not to detract from the girl. It *is* her portrait, after all!

And yeah, by the time the coals were hot enough to fire the digital camera's Babbage Machine, I had already skipped ahead. I've blocked in the lights and shadows on her shirt and had a wee play with those red/purple-y skin tones.

3) Hair:

You may notice I'm working on overlap. I always start with the very furthest back in the picture space, even a relatively shallow space like this one, and work my way forward. Letting the brush strokes slightly overlap as I come forward reinforces the illusion of depth.

The hair now stands away from the background and falls over the face. Still have to put the hand and berry in their proper plances, but having the hair does key the colors better, too.

Plus, my portraits look *so* creepy at this stage. :)

4) Everything Else:

I kind of took off running and forgot to stop. Happens.

From here, I'll let the painting dry a month or two and start fussing the little changes: the line of her jaw, a few little things about her hair, one of her fingernails. The girl's mum is happy, but I want it just right, 'cause that's how I roll...

How to Make Comics - Fun!

Starting some pages for a new graphic novel, so I thought I'd take the time to document the process.

First, my supplies:

cardstock,

a blue pencil (non-photo blue, or pthalo blue light some art supply stores call it),

a kneaded eraser so I don't leave crumbs,

a lapboard (I got Cool Dog in CHina years ago and he's still hanging in there),

and last, but certainly no least,

a comfy chair. :-D

I start by blocking out the story. It's a sort of push and pull between the words I'll be using and their placement on the page and the action/shots/moments I just *have* to show. A lot of this happens in my head. A lot changes here, so the drawing at this point is raw scribbles, circles and squares, stick figures.

Now, here we are at the end of this stage. My page is blocked out and the scribbles developed into roughs. This took about two hours for all four pages, but that's a heckuva lot to upload with a dial-up modem, so I just loaded two...

Now, here I am another couple hours later, with the pencils I'll be inking over. Some would consider these still pretty loose, others quite tight. For me, the big question is, 'can I look at them and see what I'm supposed to do with the inks?' That's it.

Note that the guy's head (his name is Sam) changes a LOT on that one page. I felt Sam needed more anger and confrontation, less resignation. After all, it's conflict that drives stories...

I'll post more as the inks come in...