Slightly different focus than last week....shrunk down the illustrations to what I think of as my "top 5" keeping in mind that I didn't want all of them to be back-lit silhouettes, so had to make some tough choices.
After that, I've put in 5 of my plate extensions, to show that I can paint in cartoon background styles. I'm taking my laptop, so I can change this up as I need, but this is how I'm thinking at this point.
Ok, for game art class we have to make a flash game...mine will be a UFO traveling through the pac-nw, picking up random hikers and cattle for experimentation and anal probes. Here's the basic design I'm thinking of:
As I go through making a painting, I want to think of these things:
1: WHAT DO I WANT THE VIEWER TO FEEL? This is the most important thing. Doesn't matter how you do it, you succeed if you get the viewer to feel what you want.
2: WHAT IS THE DAMN SUBJECT?
Thanks to Brian Stelfreeze for this one. What is the 5% of the
painting that I want you to really connect with? The rest is gravy.
3: DOES IT WORK IN 3 TONES? If not, redo the damned thing. Clear, clean silhouettes are how to make sure your painting reads.
4: WHAT IS THE COLOR THEORY?
Doesn't really matter which one, assuming it serves #1 and #2, but make
sure you think about it instead of just falling into it.
5: DO YOUR SPACES READ PROPERLY?
Atmospheric perspective, proper forms, and all the other things we use
to make sure we can place things in space where they belong. 6: HAVE YOU RENDERED THE FORMS?
This is the LEAST important thing on the list, even though I tend to
freak out about it. Even if you screw the pooch on #6, if #1-5 are
good, you'll be ok.
At IlluxCon, someone made the very good comment that the values of the piece were being lost, and that it wouldn't read in a 2 or 3 tone study...so I tried to make it work a bit better....FG Light, MG Dark and BG Medium/Light. Figure pops more now I think.
Oh yeah, and I extended the bottom a bit, so it didn't feel so cramped.
....Is a self-perceived weakness of mine...so I decided it was time to take the bull by the horns and give it some practice. This is about an hour into the process. I'm taking a break to go hit up IlluxCon, but I'll work on it some more when I get back to my hotel tonight.
For my kid's book illustration class, the "Hell World"
so-called “hell world”, Tarterus IV is incredibly seismically active,
with literal oceans of lava. The one populated area is a penal colony
tasked with mining in exchange for food and air they need to survive.
Once dropped on the surface, no one ever leaves again. Obedience is
maintained in order to receive the resources required to continue their
Seth Rutledge is a visual developer and concept artist for the animation and video game industries, a photographer and a coffee snob living in Vancouver, British Columbia. Before he discovered illustration, he received a CSCI/Math degree from UNC-Charlotte, and has lived and worked all over the United States and Canada. He has run marathons, taught English in Japan, been CTO for a pharma marketing company and done fashion photography in NYC. Seth has two albums he wrote and played keyboards on, and he plays the theramin whenever he gets the chance. Seth spends so much time in coffee shops drawing that he is mentioned in online reviews. He would love a career drawing elves and goblins for a living.