The Warded Man WIP

Continuing with the character sketch of Arlen from Peter Brett's book, The Warded Man. Finished the sketch and now will continue in Photoshop, experimenting with brushes and layers. It's a little too dark but I can fix that later. Right now, I'm trying to create the mood of the piece and I want him emerging from the dark, showing that finally, he can confront the night and all that comes with the setting of the sun. I also wanted him fading into shadow to show the pull of the Core on Arlen's soul and what remains of his humanity. Those of you who have read the book will hopefully know what I'm referring to.
I enjoyed using vellum for the sketch. I was able to draw his face on one side and then turn it over to draw the tattoos. Gave them more depth, plus if I had to erase the wards, I didn't mess with the rendering of the face.

Experiment Concluded

Well, the more I looked at those hard edges, the more I didn't like them. I also discovered that the three layers of fixative prevented my colored pencils from fully grabbing the vellum. SO, I decided to stop and repeat the last two steps. This time I printed a sepia toned copy of my original scanned sketch on to the vellum. Very pleased with the results. Also, after looking at some firefly reference photos, I realized that they give off a yellowish-green glow; not an orange-yellow one. Duh! I've never seen one in person. Also, I didn't fix the printed side since my printer uses water-resistant archival inks. Made all the difference. The vellum received the colored pencils beautifully. After playing around with some colors, I realized that my original concept was way too day-lightish. I went with a much more moonlit look and prefer it, although it's not as vibrant.

So, with this experiment concluded....would I use it again? Not sure. While I do love the luminosity, that's achievable with other mediums. The one thing Sergio doesn't reveal in his article is what he uses on the final to back it. I imagine any solid white paper would work. The vellum alone is way too fragile. Of course, under Sergio's masterful hands, this technique produces distinctively glowing illustrations. I can't possibly expect to achieve the same results without his skills and experience.

I am most grateful to artists who are willing to share their process. People like James Gurney, Dan Dos Santos, Donato Giancola, and many others who open the door to their studios and their techniques probably underestimate their value to artist-wanna-be's like myself. It is so helpful. I think with one exception, every artist I've emailed has replied and generously imparted information to me. There are other lesser known artists I follow who post their works in progress and I always gain new knowledge watching them work. My hope is that this meager experiment has been helpful to someone out there. I know I've learned alot. Thanks Sergio!

Painting on Vellum ala Sergio Martinez

I've been a fan of Sergio's every since I discovered his illustrations for Max Lucado's "You Are Special". His composition and line work are wonderful and strong. He creates his luminous colors by drawing on both sides of vellum. I'vebeen a fan of drawing on vellum for years now so I was very interested in his technique. In one of his blog posts he mentioned that his whole process was explained in an out-of-print edition of Step by Step Graphics. Fortunately, someone on ConceptArt who owned that edition scanned and posted the whole article. UNfortunately, the link is now down. So glad I saved it! This is my experimental sketch & value study. Next I will cover the sketch with a sheet of heavy, 90gm vellum and redraw with a carbon charcoal pencil. Hopefully, I will be ready to post the next step tomorrow.