EDIT THE SHOT
1 LAYERS, LAYERS, LAYERS
I will start at the end. Over the years, I have found working in layers is so important to my workflow and practice. This allows me to build a dynamic image that can not only evolve over time, but that can also be adapted and changed.
2 BUILD YOUR FOUNDATION
Just like an underpainting that serves as a base for the subsequent layers, I like to build a strong foundation. I start by cleaning up the skin, hair and any elements I find distracting to the eye. This can be time-consuming, but be patient, as this holds the key to the final artwork. I use frequency separation and the spot healing tool along with a hint of dodge and burn.
3 ADD IN COMPOSITE ELEMENTS
This is an amazing opportunity to play around. Art is all about play, and some of my best work has come out of happy mistakes. Give yourself time to realistically place and incorporate composite elements so that they add, rather than detract, from the overall composition. Make sure to add in shadows where they would have naturally fallen.
4 DETAILS
This is possibly my favourite part of the process. I am obsessed with details as my work is often printed. Both large and small nuances work as conversation starters that you notice over time as you visually and emotionally explore a piece of artwork. I use a variety of masks and curves to pull out details through light and shade.
5 COLOUR GRADING
Colour grading has always been a passion of mine. It’s often how my work is recognised and that comes with having developed a style over a period of time. I would encourage you to experiment with colour and see where it takes you. I love to use selective colour and colour balance.
Right OLD FLAME
Claire says she is obsessed with detail, using a variety of masks and curves to pull out details through light and shade
Colour grading is a passion of mine. It’s often how my work is recognised