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Next, I added a layer above the blocked-in paint­ing. I merged the wall and blue gra­di­ent lay­ers to make a fi­nal layer above Phil. To add greater de­tail, I used my smaller light opac- ity brush and added more scrib­bles to the piece to bring the whole com­po­si­tion to­gether.

I strate­gi­cally planned the or­der of the fi­nal lay­ers so I'd have the abil­ity to make changes later. In my paint­ing, the back­ground was in the sec­ond layer, and the scrib­ble blend­ing was on top of it. This was an ideal setup, in case I wanted to change the back­ground or go back and use an­other method of blend­ing the main por­trait. I like to keep my op­tions open, as to­mor­row is an­other day and brings a new way of look­ing at things.

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