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Showing results for tags 'sepia'.
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Lady Helen Quartermain and her airship privateers / art thieves / operatives for the British Museum, ca. 188--. Painted for the game "In Her Majesty's Name." Speedpainted, all of them, over the weekend during downtimes at the hotel in Augusta.
Hey friends, I opted to try and do something I've never done before and use sepia tones to emphasize the sorrow of this scene. I wanted to bring out the sadness of the medusa's face for my interpretation of the scene as the medusa begins to succumb to the circumstances of her own curse and begins to transition into a statue herself. It was something new to try and I'm pleased to have challenged myself with a different type of scene using limited colors and trying to complement the scene with a drastic contrast. Overall, it was a fun experiment.
I spent some time painting over the past holiday weekend. Here is my take on the Chronoscope bandito, Lobo Sanchez (plus unnamed iguana hanger-on), sculpted by Jason Wiebe. I used a monochrome scheme meant to replicate a sepia-toned photograph, as I did for Buffalo Bill Cody and Doc Holliday. You may also have seen figures that I painted in black-and-white or dark-green-to-yellow-ocher "monochrome" schemes. I did most of the painting on this figure in two sessions of about 2-3 hours each, plus a few shorter sessions for adjusting the values and smoothing the gradations. I have taught classes on monochrome painting at ReaperCon and other conventions. As I explain in the class, painting in a monochrome scheme forces you to focus on value and contrast, because [edit: "...you can't choose different colors to distinguish one area from another"]. How do you make something look like cloth, metal, skin, hair, scales, leather, or stone?; smooth or rough?; shiny or dull? Where do you want to draw the viewer's eye? These are issues that you have to consider in full-color painting, too, but the colors are an extra level of complexity. Enjoy, Derek