Thanks! Yup, I started out with a very loose doodle in Photoshop, and worked it up from there. I've never really been a big devotee of sketching. Which isn't really something I'm proud of, but it seems to be the way I work. Its fairly straight forward with a graphics tablet to make underpaintings and sketches in PS.
i love your compositions, especially in this one. its a big invisible X that still keeps my eye moving around. i've got a lot of annoying questions i can't help but ask.
did you start out by splattering the texture on a layer after the loose sketch then building it up?
how long do you usually spend on something like this, and at what point do you consider yourself finished?
what was the most difficult problem to solve in this piece?
I have a library of textures which I have made, or which are scanned from my old traditional paintings (which were fortunately very abstract and textural) So I use one or two of those, laid in as a multiply layer generally, over the loose sketch. Mostly I work on a single layer, any time I add a layer it gets flattened very quickly.
This one was about 2 and a half working days, with lots of breaks for internet surfing, which is a hideous waste of time, but which I am addicted to. I really beat myslef to keep working on this one. There's always more you can add, and its an eternal struggle to know when to call it done. I want to keep some looser areas, since I like that kind of thing.
The most difficult problem(s) were - the stairs, which are still not quite right, and I may well revisit if they bug me much more over the weekend. The dragons head was not sketched really, beyond a vague wedge, and that slackness at the sketch stage threw up a lot of problems with tangents.
New deals posted everyday, starting Black Friday and running through the holiday season! No hassles, no lines - just awesome savings on art, deviantWEAR, Premium Memberships and more!
DeviantART is counting down to its 100 millionth deviation! Join in on the fun and take a look back at some of the most noteworthy deviations we've seen along the way. The deviant who uploads the 100 millionth deviation could win a special prize, too. Hurry, we're going to hit the 100 million mark soon!
Daily Literature Deviations is a group that is dedicated to bringing literature to the forefront of the deviantArt community. We attempt to accomplish this by daily featuring Literature artists from around the community that deserve the recognition, but are not getting it.
Each day we will feature 5 deviations from the Literature categories in a News Article. In order to support the artists that we feature, we ask that you the news article as well as check out the individual pieces. We understand that each day you may not be able to check out each and every one of the pieces, everyone has their own things going on. We just ask that you make an attempt to help support the growing Literature community.
^Ikue has been a devious member of our community for almost 7 years and in this time he has proven to be nothing short of dedicated and devoted. Whilst volunteering his time over the last 22 months as a Gallery Moderator within the Community Relations Team, Chris has brought the Vector gallery and many vector artists directly into the spotlight. ^Ikue's commitment to the community is evident in everything he touches and you can always find him reaching out to others with an encouraging word. Chris is a natural leader with a vibrant and empathic personality, and is a role model for deviants everywhere. It's ev... Read More
Comments
--
I DOn't suFfER frOm iNSanIty, I EnjOy eVEry mINutE oF It!
--
Give a new religion to eternity...
Thanks for commenting!
--
Jon Hodgson
--
Jon Hodgson
--
Jon Hodgson
did you start out by splattering the texture on a layer after the loose sketch then building it up?
how long do you usually spend on something like this, and at what point do you consider yourself finished?
what was the most difficult problem to solve in this piece?
Yay for the classics and
--
Emotes say more than words!
I have a library of textures which I have made, or which are scanned from my old traditional paintings (which were fortunately very abstract and textural) So I use one or two of those, laid in as a multiply layer generally, over the loose sketch. Mostly I work on a single layer, any time I add a layer it gets flattened very quickly.
This one was about 2 and a half working days, with lots of breaks for internet surfing, which is a hideous waste of time, but which I am addicted to. I really beat myslef to keep working on this one. There's always more you can add, and its an eternal struggle to know when to call it done. I want to keep some looser areas, since I like that kind of thing.
The most difficult problem(s) were - the stairs, which are still not quite right, and I may well revisit if they bug me much more over the weekend. The dragons head was not sketched really, beyond a vague wedge, and that slackness at the sketch stage threw up a lot of problems with tangents.
Thanks!
--
Jon Hodgson
--
Jon Hodgson
Previous Page12345...Next Page