So, I finally got to painting Fingolfin! I’m extremely happy with the outcome – Very often, the colour schemes I go for result in very clear images with very clearly divided colour areas. In this one, I went for much less colour and hue variation so as not to lose all that detail.
For the sketching and lineart process, see this entry.
I started with a generous background wash of a dull brown, mainly Sepia. I dabbed off some paint from the horse and Fingolfin’s face so they’d stand out more brightly later.
No, that was a lie. I started with two hours of trying to print out the lineart, but my printer kept staining the bottom. *kicks it*
(I have an A3 Epson printer with waterproof ink that can handle up to 350 gsm of paper weight. More or less well depending on its mood of the day.)
The paper I work with is Hahnemühle Veneto, which comes in huge rolls that nobody but me will buy, hence they’re practically giving them away at our local art store. It’s wonderfully cottony in texture and hardly twists, so I don’t have to stretch it.
With images like these, I often start with the knotwork. I went for primary colours, but soon saw they looked slightly too baby’s bedroom, so I toned down the blues and reds after the first wash.
I always start with the knots themselves, as for some reason, knotwork looks best when the background is darker than the knots. Here I’m already painting the background. (And wondering how to get rid of that baby’s bedroom charm.)
Now all the borders are painted. I also darkened the border around the whole image.
That blotted-out space up there was me photographing pictures with my gradebook open. >_< 9b would not appreciate the world to know how they did in their last English test. (Well, not all of them.)
I just love dapple-greys. And I love to paint them. There are several ways how to achieve that dappled look. Initially, I was going to use vodka (yes, you read that right), but the vodka I’m using only works when applied at exactly the right state of drying, which makes working with it quite a hassle. Probably the wrong brand.
So, in lieu of alcoholic beverages, I started with painting the dapples, like this.You paint little circles and ovals, making sure they vary in size and spacing, or the final result will look too uniform.
In order not to have the dapples stand out so much (we want dapples, not polka dots), I overlaid them with a more unifying wash once they’d dried.
Once that wash had dried as well, I added another dotted wash, exactly like the first.
Closeup of the finished dappled rump in the final image.
After painting the horse very bluish, I found that the subtle hue variation I’d had in the background was too subtle after all, and put a more reddish wash over it. Now Fingolfin stood out nicely without looking as if I’d painted the background in greyscale.
To achieve a metallic look, you need to paint a mix of smooth gradients (for the smooth texture of metal) interrupted by sharp light-dark-contrasts (for the reflections).
I started with the first layer. I had three different types of metal: chainmal bits on his arms and lower body, etched plate (on his stomach and other places) and smooth plate. I decided to set them apart by using different blues for them, painting the etched and chainmail bits darker.
The two white bits along his torso are leather straps, which I also painted bluish later.
Here’s the second wash of paint. On his gorget (that the collar piece) and the shoulder plate, you can see some metal reflections already.
Closeup of the armour in the finished piece.
(In case you wonder about the colour changes, the scan here is more true to the colours I used – the camera, again, picked up different hues, as I was working with artificial light again.)
Total time spent: Probably around 13-15 hours.
Recommended listening: Two Steps From Hell, Heart of Courage
(space needed before the onset of silliness)
(Incidentally, I recently dug out this – from a calendar I drew back in 1996. XD Thought I’d share.)