I finally found the time to paint “Ossiriand”.
The result surprised me, quite frankly. I chose Dr Martin’s Liquid Watercolours and Canson paper to work on, as I wanted this pic bright – turns out that the result was almost too bright. Hence, I turned down the saturation a little in the final painting (as well as adding a slight yellow overall tint); that’s why the in-progress shots don’t fit colour-wise. (It’s also because my camera was completely overtaxed with so many colours; especially towards the end, I haven’t been able to fix them in the wip shots completely. The original is not as far away from the above version as most of the photos below.)
I can’t believe I’ve been struggling with brighter colours for years. The combination of the good ol’ Dockers with Canson is certainly an assault on the rod cells!
The first stage was to put a yellow wash over the entire pic, to achieve a golden sunlight glow in the end. I made it less pronounced where the sky would later go, so as not to end up with a green sky.
After this layer had dried, I put down the blue for sky and rivers…
… and mixed some rather pale green for the greenery in the back.
You see my putting down quite a lot of wet-into-wet paint there, for vegetation look that’s not too detailed.
Background greens added:
Now for the leaves in the foreground, I used a somewhat more detailed approach. I’ve often tried, over the years, to achieve mind-blowingly detailed greenery by wishy-washy-wet-over-wet stuff. Needless to say, I never found the magic formula. The only way to do detailed greenery is with small brushes and painted details. I already laid some of that down in the lineart.
Now I start painting the foreground leaves – detailing a few select leaves by highlighting the veins (painting around them), using a rather yellow green tone so they’d really catch the sunlight later.
Then I painted the rest of the leaves in the same green tone.
Then I go in with a second, more bluish green tone, painting over some of the blocked in light green leaves, again leaving out the veins. Some others I completely paint dark, others I leave light green.
So with these two tones, I paint four kinds of leaves: the light ones with “white” veins you saw above, dark green with light green veins, light green without veins, dark green without veins. This makes for a lot of very lively variation with pretty little effort.
For some more realistic lighting, I paint in some darks with a touch of red – now the leaves really pop.
I then begin to fear that the reddish foreground will completely upset the colour unity, and lay down a stronger yellow foundation.
The first layer of horse coat (and Maedhros’ hair). I should add that what Doc Martin calls Burnt Sienna isn’t Burnt Sienna at all. I had to do quite a lot of mixing before I got the tone right.
For the second layer of horse coat, I added some more reddish-brown hues, but rather close to the first.
At which point my camera just quits and picks up all sorts of hues.Note how, in the pic above, the horse looks rather out of place. This will be remedied in the shadows.
For the shadows, I mix in lots of blue, to reflect the colour of the grass in the shadowy areas. This ties the horse to the surroundings.
Then I go and paint Maedhros’ clothes and all the little details – not much to say here that I haven’t said several times before when outlining how I shade. :)
Except this one – his boots. I relay liked the details here.
As always, hope it was helpful – enjoy the final result! ^___^