Step-by-step: Sketch­ing and adding de­tails

ImagineFX - - Imagine Nation Artist Q&A -

1 I pro­ceed as I would do when paint­ing tra­di­tion­ally. I start with a quick sketch of the jug and the two glasses with a small, hard- edged brush, bear­ing in mind pro­por­tions and per­spec­tive. Draw­ing di­ag­o­nals on the can­vas helps me keep the com­po­si­tion’s key el­e­ments in fo­cus. Once I’m happy with my sketch I lay down ba­sic colours us­ing the Lasso and Fill tools.

2 This is a del­i­cate phase be­cause choos­ing colours sim­i­lar to those that our eye per­ceives can re­ally make a dif­fer­ence in the suc­cess of my paint­ing. Of course, work­ing dig­i­tally means I can eas­ily cor­rect my colours, un­like with tra­di­tional tech­niques. With a large hard- edged brush I sketch lights and shad­ows, not­ing that with a cold light I have warm shad­ows tones.

3 I add de­tails. First I de­fine the cloth with a smaller, softer- edged brush. I paint darker shad­ows where the fab­ric over­laps. Be­fore mov­ing on to glass ob­jects, I paint the light re­flected on the fab­ric folds, pick­ing up the colour with the Eye­drop­per tool from the well-lit ar­eas of the wine glass (which in this case is a bright and sat­u­rated red) and the wa­ter jug.

4 I paint the glass and the jug on a new layer, us­ing the Eraser tool to cre­ate the trans­par­ent ef­fect. As well as be­ing trans­par­ent, glass is also re­flec­tive so I cre­ate an­other layer and I paint the re­flec­tions of the drap­ery on the wine glass. I use a brush with a soft edge to avoid over­cook­ing them. Fi­nally, I de­tail the ob­jects and paint the blue lines that run across the cloth.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.