Artist in­sight From sketch to fi­nal

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Tusks and teeth!

The mouth area was the hard­est thing to get into per­spec­tive. I kept hav­ing to turn the grid back on and try my best at making it work, but by the end I re­ally liked how it looks, and the ex­pres­sion of the ogre pa­tient as well. Def­i­nitely worth the ef­fort!

Tools of the trade

The idea of putting some skulls, teeth and tools on a ta­ble nearby was a late one dur­ing the sketch process, but I’m glad I thought of it. Not only do th­ese items add to the sto­ry­telling of the scene, but they also work to sep­a­rate the fore­ground and the back­ground.

A sign of what’s to come

I like to joke in my work, and I just wanted to make it clear that the one in the most dan­ger here is the “doc­tor” rather than the pa­tient, so I in­tro­duced a board to check how many an­gry pa­tients he’s made it through.

Pa­tients who are im­pa­tient

The faces of the other ogres wait­ing for their turn in the back­ground was my favourite part of the im­age to paint, and it’s one that not many peo­ple no­tice. They’re so tiny, it was re­ally easy to paint them, and I loved paint­ing their funny, be­wil­dered ex­pres­sions.

Skin and face

It was great fun to paint the skin – it has a lot of vol­ume and sub­tle form vari­a­tions. I have a con­fes­sion: to bet­ter in­form my paint­ing of this guy, I stud­ied a painted por­trait of an old lady, and then just ex­ag­ger­ated what I learned!

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