May 4th, 2012
I can explain.
1. Line width variation. Some might call it “inking” but I don’t think of it that way because I only applied it in certain areas to make the contours more bold. The original sketch lines remain, though they’ve been cleaned up.
2. Shading and highlights. Multiply and overlay layers, mostly. This is Photoshop jargon. It’s really smart.
3. Textures – stock photos in overlay mode. Applied to specific areas or materials, not globally. For example, a certain texture was used in the sky. I gave it a perspective deformation so it might subtly suggest a plane receding in space. Likewise for the grass. By the way, the grass texture is a photo of pebbles, inverted.
4. Escalating fussiness.
5. Toffee peanuts that spoiled my appetite for dinner.
6. Five or six adjustment layers, manually masked to only affect certain parts of the canvas. Mostly to adjust contrast and hue. Trying to make the image “pop” more. No, not pop. Click. Clop.
Did I go too far? I am … kind of tired.
Prediction for the next session: I’ll dial back some of the intense light and saturation, or some of the hue jitter going on, or the vignette which I applied at the last minute. Something is going to get dialed back. And as I look at this, I feel like drawing loads of creatures all over the bridge, jumping over the gap and aiming crossbows at the intruders.
Like yesterday, today I tweeted all these changes as I worked, so if you’d like to follow along, please don’t be bashful.