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Creative li­cence

Small colour notes can gen­er­ate vis­ual in­ter­est, and don’t need to be jus­ti­fied by the physics of bounced light.

6 Pre-mix­ing my colours

In­stead of mix­ing colours as I go, I pre­fer to mix up a large pud­dle of colour be­fore­hand. This saves a bit of time, gives me the op­por­tu­nity to sort out colour re­la­tion­ships, and al­lows for un­ex­pected but use­ful mix­tures to oc­cur.

7 Base layer

I quickly and roughly scrub in a very thin layer of paint, us­ing a trans­par­ent mix­ture for the shadow side and a semi-opaque mix­ture for the light side, This makes it pos­si­ble for me to place any sub­se­quent brush­strokes di­rectly into wet paint.

8 Es­tab­lish value range

With the large shapes now firmly es­tab­lished, the next step is to block in some se­condary shapes such as high­lights and re­flected en­vi­ron­ment. Note that I’m not paint­ing ev­ery sin­gle de­tail – just enough of them to achieve the over­all feel.

9 Cor­rect­ing er­rors

I no­tice that I’ve made a mod­er­ate draw­ing er­ror on the gaunt­let. It hap­pens. I’d rather not have the thicker lay­ers of light colour blend into the deep darks, so I’m go­ing to re­move them com­pletely with a pa­per towel.

10 Es­tab­lish­ing se­condary forms

Once I’m happy with both the three-di­men­sional form and metal­lic ef­fect of the larger forms, I start go­ing into the smaller forms and build­ing them up. I’m care­ful to stay within the over­all value struc­ture I’ve es­tab­lished.

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