Comic colour and light ef­fects

Mitch Bre­itweiser pow­ers up your paint­ing tech­nique, re­veal­ing how to achieve dy­namic colour and light by us­ing brush and layer modes

ImagineFX: Sci-fi & Fantasy Art magazine - - Contents -

Brush and layer styles are key, says Mitch Bre­itweiser.

olour has been on my mind

C re­cently. You see, I’m lucky enough to share a stu­dio with the best colour artist in the comic book business, El­iz­a­beth Bre­itweiser. She’s my wife, so I may be bi­ased (I’m not). Both of us love to paint, even though we ap­ply it in dif­fer­ent ways, but we also love to share the lit­tle tricks we learn along the way. I have to give her due credit for some of the tech­niques used in this work­shop. So here, I’ll be ex­pro­pri­at­ing some of the our tech­niques, in­clud­ing how we use brush and layer ef­fects to cre­ate dra­matic light­ing and unique colour har­monies. I’ll be ap­proach­ing this dig­i­tal piece in a more im­pres­sion­is­tic way: leav­ing the ini­tial draw­ing fairly loose, de­con­struct­ing and re­con­struct­ing the forms, lay­er­ing colour and tex­ture, and ma­nip­u­lat­ing the light as I go. Hope­fully, it’ll be a con­stant process of dis­cov­ery that doesn’t be­come bogged down in the process.

One thing that you might find sur­pris­ing is how few (if any) lay­ers I paint with. Per­haps I’m just a lit­tle old­fash­ioned, but my brain reaches a sat­u­ra­tion point with lay­ers where they be­come counter-in­tu­itive to the thrillseek­ing na­ture of my cre­ative im­pulses. I sim­ply merge them all down and paint on. It’s not that you can’t make great art with 40 lay­ers – it’s that I can’t. I’m a painter and I want to paint… just with the con­ve­nience of the Undo com­mand!

Sketch a raw and un­fil­tered rough

The ob­jec­tive of this stage is to get that idea out of your head and on to the can­vas as quickly and ex­pres­sively as pos­si­ble, with­out sweat­ing the de­tails. In this case, It’s Cap­tain Amer­ica, shield poised for ac­tion, in a dra­mat­i­cally lit and rub­ble-strewn scene. I’m still un­sure who to pit Cap against, so I leave the op­pos­ing side of the pil­lar un­re­solved for now.

Carv­ing out the light

Us­ing my cus­tom broad tri­an­gle brush, I push the paint around un­til the mid-tones and high­lights sep­a­rate and be­gin to in­form the ma­jor forms. I scrib­ble in some fram­ing lines as I go, and lock in the ba­sic com­po­si­tional el­e­ments.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.