Sep 17, 2010
Somehow managed to squeeze this within my schedule. I really missed painting for myself! Not that I have started it from the beginning or anything; just rescued it from some sketchbook.
Since I miserably failed to get a decent light scheme working when I initially tried to painted it, I left this project behind until the right time. Eventually, it has been a good starting point to test Sam Nielson's approach to break the light into several layers. I'm definitely looking forward to attend his Schoolism course when I'm able to afford it.
Anyway, since I already know some people who are interested in the process, I'm writing my thoughts on it.
The main advantage of this approach is that information is taken into small, easier to digest pills, thus not having to solve occlusion, direct light and color all at the same time. That leaves the brain more relaxed, at list for people like me, unable to breath and blink at the same time, and everything is easier to manage layer-wise. Also, the outcome is reasonably unpredictable, which turns out to be an advantage when you are stuck like I was.
Its main drawback is that it becomes a less "intuitive" process, moving much of the work to the left brain at the expense of being slightly blind about the overall look. Of course, it can be tweaked afterwards, but painting the color layer feels quite unnatural, and it forces you to have a working, finished drawing from the get-go rather than being able to correct stuff "on the fly". It is also a bit more time-consuming.
Anyway, it's very a very worthy process to give a shot, and to meet face to face with lighting in its most raw state. Also, I must recommend never painting in a laptop; that nasty LCD screen has left me close to blind.