Gen­er­ate vol­ume and depth eas­ily

Svet­lana Ti­gai ren­ders a semi-re­al­is­tic por­trait us­ing light and shad­ows to de­velop vol­ume and depth, be­fore making the move to colour

ImagineFX - - Workshops -

Svet­lana Ti­gai ren­ders a por­trait us­ing light and shad­ows, be­fore making the move to colour.

Some­times I paint in black and white. It’s a great chance to work with light and shadow, and is a good tech­nique for learner dig­i­tal artists to grasp, as they prac­tise de­pict­ing vol­ume and depth us­ing only shades of grey.

Be­fore I start draw­ing, I think not only about the com­po­si­tion, but also about the set­ting. Beau­ti­ful por­traits are im­proved if they have a story be­hind them. I want to make sense to all of my pic­tures. That’s the way I ex­press my­self – the way that I com­mu­ni­cate with my au­di­ence. It’s not easy to tell a story with­out a de­tailed back­ground. I like to draw por­traits with the hands, be­cause hands, like the eyes, can also speak. So if you want to draw an in­ter­est­ing por­trait, don’t ig­nore im­por­tant things such as the pose. The colour pal­ette also plays an im­por­tant role, be­cause it creates the at­mos­phere of the paint­ing; it em­pha­sises and en­hances the mood. For ex­am­ple, blue doesn’t al­ways mean a cold or sad mood, yel­low doesn’t al­ways mean joy and fun. In the con­text of a story, some­times a warm pal­ette can add a sense of mystery.

In this work­shop I’ll draw a pale girl with very blonde hair in a white dress on a light back­ground, and I’m go­ing to show you how to achieve vol­ume at low con­trast. We’ll end up with a very gen­tle and rather mys­te­ri­ous ef­fect. I’ll also show you how to colour a black and white pic­ture us­ing gra­di­ent maps.

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