WEEK TWO: Small Scale Artwork II
What will you need? - Your finished lineart from week one, markers, scanner, photobucket, and your experiments from week one.
Step One: Fill in your Base Colors
All right, picking up from week one - you have base colors and a color scheme picked out. Now you can fill in your original lineart (which is on bristol board). Before you start, though, actively think about where you want your light source to come from. If your light source is going to be bright enough to leave white areas, you may want to leave some areas the white of the paper, that way you don't have to go back later or with acryllic/white ink pen to add highlights. This is true for water colors as it is for markers - you can always layer darker, you can't lift up.
However, as a corollary to this, you CAN use the colorless blender to lift SOME color. The colorless blender can lift up all or most of marker you laid down depending on the color - very very light colors can be removed entirely, while darker colors will leave behind a residue of color that often looks mottled - as if water has been spilled on it. HOWEVER, this works BETTER with copic markers. When I was using prismacolors, I did not feel that you could lift color easily with them, and I hardly used the blender at all - except as, I think someone mentioned before, a first layer prior to adding color, because it makes the colors go on smoother. I'll talk more about hte uses of the colorless blender in more advanced pieces when I actually have occasion to use it more.
Step Two: Shading and Blending
After you've filled in your base colors, you can go through and layer more of the same color in the dark areas to get a darker shade. After that, look to your markers for other colors that you can add to it. Nothing is ever ONE color. A good trick to know is to pull in colors from the background or the character's clothing into the reflections of other areas of the skin or clothing.
In my piece, I added pale lavendar, and pinkish white into the skin and white areas or her clothing.
Usually, after layering other colors in, I go over then with the base color again. I think this makes them blend together a little more smoothly. On th eskirt, the pink highlights were originally white space; this is going abck to the beginning where I talked about leaving open white space - you don't have to just use it for white highlights, but you can go through and layer other colors there as well to get darker highlights.
After adding those colors in, I shaded the bow of her outfit, which I had left aone up to this point. For the bow, I used amythest (A17) and the base color, which was grayish lavendar - or BV23.
Next, I worked a little more on her eyes and face. I took the colorless blender and removed some of the color from highlight spots in her eyes and skin.
Then I added darker shades of brown to the eyes to give them depth. The secondary colors on the eyes are maroon (E77) and light walnut (E57). The base color, I believe is chamois. After the eyes, I gave her a little lipstick. I always like tender pink (RV13) for lipstick, and dark pink (RV34) for the dark parts.
Now that the foreground has been entirely filled in, I pulled out several orange shades to mess around with the background. These colros were: Honey (Y36), Apricot (YR16), Salmon Red (R05) and Prawn (R24) going in order of lightest to darkest.
Step Three: Scanning Kills Markers
Now it's time to scan my piece! Unfortunately, because this piece has a very white backgorund, I'm going to have to toy with the levels a lot to get a decent looking scan. Why? Because scanners work through pixels - not vectors - and pixels work by relating to each other. What do I mean by this? A pixel will arrange itself (lighten, darken, etc) according to the color next to it. So because my piece does have white in the background, it's likely that this white will spread into the colored areas and give it a washed out effect. This doesn't happen as much when you have a completely full background, or some sort of background area, and you can always manipulate the piece with PS or (whatever program you use)if the piece doesn't have a background, but unfortunately it seems like it'll never look exactly like the real thing.
I've found that this is also true for printing. After spending several years working in my Uncle's art studio (he's an oil painter), and being involved in the very crazy process of getting the right color print, that technology today, while quite wonderful and advanced, ALWAYS seems to have a difficult time accurately representing traditional media. Perhaps this is because my uncle is a seascape artist, and shades of blue are particularly hard to reproduce, but we always went through many many trial versions of a print before getting a decent one. So basically, what I'm saying is, keep toying with your scan until you find the right combination of effects that'll flatter your work best, but do not expect it to look exactly like the original. There's always the chance the scan will look better than the original too. XD
Any case…here is my finished piece for this week. HOMEWORK: Finish your original piece of work from Week One, the one on the Bristol Board/Cardstock/whichever paper you used.