High­lights and dark­est darks

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

In this fi­nal step, I add my opaque lights that stand as my high­lights and ac­cents of colour. Be­cause the uni­form glazes don’t cover these ar­eas, they tend to be bright and vivid. Con­versely, I also add my dark­est darks: in this case, the in­ac­tive area of the paint­ing that frames the ac­tive ar­eas.

I add the tat­toos as tools to di­rect the viewer’s eye and not let it go out of the com­po­si­tion. Lost edges help to build the com­plete im­age in the mind’s eye of the viewer. The hu­man brain is ex­cel­lent at in­ter­pre­ta­tion and fill­ing in the gaps. When di­rect light hits a glass con­tainer filled with fluid, the light gen­er­ally is trapped to a cer­tain de­gree in the con­tainer and bounces around be­fore ex­it­ing. This causes a glow or a gra­di­ent in the fluid. I group the ma­jor­ity of the darks and use it to frame the fo­cal ar­eas. The out­lines of bright sat­u­rated colour help to sug­gest glow and add at­mo­spheric per­spec­tive.

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