PENCILS TO PAINT USING A LIMITED PALETTE

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1 A U T O D E S K SketchBook Pro for ipad PENCILS TO PAINT USING A LIMITED PALETTE THE ARRIVAL A Tutorial by Shaun Mullen

2 Introduction This tutorial will take you through the steps I use when working from a pencil sketch through to painting using limited palettes, by careful consideration of colour you can increase the impact of certain elements within your painting. Within the steps demonstrated I will cover points on composition, visual storytelling, Chiaroscuro along with other methods I use in completing a painting. From simple pencil concept To digital sketch To completed painting This tutorial was created using a generation 1 Apple ipad and Autodesk s SketchBook Pro, the theories and methods within the tutorial can however be used on any platform and with slight adjustments, traditional media. I hope you enjoy this tutorial and it inspires you to use the methods from it for use in your own work. Thanks for reading. 1

3 Stage One The idea for the painting of The Arrival began as a simple pencil sketch. This pencil stage allows exploration of different ideas based around the same theme without investing huge amounts of time or resources. I can quickly change viewpoints, compositions and elements within the image until I find something I think nails the brief. With my work I still like to leave an element of the unknown or untold, I hope it makes the viewer ask questions about the image. The sketch on the right was chosen as the environmental elements (rocks, debris and distant pieces) help frame the figure which is the main focal point. I feel by positioning the figure in the centre and framing it increases the visual dynamic. This is still the sketch and anything can be refined and adjusted during painting if any element isn t working as strongly as I would like. Having flexibility and not getting too attached to an image is a handy trait to have, as artists we get emotionally attached to our work and often don t view them objectively, that can reduce the effectiveness of the image. TIP: Always explore as many idea s based on the same theme as possible in the early stages, whether pencil or digital, as this helps establish the best base for your final painting. Each idea should generate another idea and when you change angles and viewpoints these images can grow exponentially. 2

4 Stage Two The digital sketch, even after exploring different ideas during the early pencil sketches I adjust some parts to help strengthen the composition. I could have scanned or photographed the pencils and then imported them into SketchBook Pro ready for the painting stage but I enjoy the re-drawing stage. During this stage I reposition the distant rock and debris elements so there s a gap positioned exactly behind the figure, these have also been purposefully drawn at angles which help draw the viewers eye towards the centre of the image (as illustrated with the arrows). The mound of earth/debris that the figure is standing on is also drawn to maximize this perspective pull. Even during this early digital sketch I use light against dark tones to help push and pull the different plains of interest. By adding the light foggy/misty areas between these plains helps give the impression of depth and distance in your work. The figure at this stage could be walking towards the camera or away from it depending on what story I wanted to try and put across. TIP: I always try to place a figure or something recognizable within my paintings so the viewer can instantly relate to scale of the piece. 3

5 Stage Three Colour plays a huge part in helping define your images look and feel, define certain areas or help push or pull planes of interest. I begin by selecting a range of colours all from the same tonal range, I try and have a mix of warm and cool tones which I can use to divide different elements within the painting. I decided to stay within the same colour range as I wanted a dark, ominous looking environment. The colour palette helps put your viewer into certain mood and you get different emotional responses from your colour choices. This image painted in bright day colours with vibrant blues and greens would give a much different feel to the painting. The sky was painted using a large airbrush tool and I purposefully tried to keep it simple so it didn t detract from the focal area. I painted a flat tone selected from my palette, I then started to painted to rough outline of clouds and variances in the colour to give visual interest. I make sure that the corners of the canvas are in a darker tone which help close in the allow the eye to drop into the centre of the painting. I reference the sketch layer and make the decision to leave the area around the distant rock formation light, this allows me to increase the tone of that aspect without increasing the contrast too dramatically. TIP: I stay away from using pure white and black when painting and use tones which are just outside of those values, these values are kept for the nearest elements (closest to the viewers eye) and for detail work, this high contrast makes those details stand out the most. Colours should increase in value and contrast as they come closer to the front, if you use this method it will naturally give depth and distance to your environment work. 4

6 Stage Four Mountains or large rock formations always feature heavily in my personal work, I enjoy the challenge and diversity of painting them. I start off by selecting a base colour for the mountain, from this I can increase and decrease the tonal range to the highlights and deep recesses as seen in nature. I use a range of texture brushes to break up the surface of the base layer, taking consideration over the perspective and shape of the mountain. Once I have a nice range of texture, colour and contrast I begin to refine the shapes using finer brushes. This is the stage when refining the shapes created with texture brushes can take the most time and consideration of perspective. You should try and keep away from adding detail as the piece will become too busy and over worked, we are just looking for refinement of the shape. TIP: When refining your mountain shape always paint at 100% or less, resist the urge to zoom in as you will automatically become too tight and start adding unnecessary details and you can see the entire section progress. Detail 5

7 Stage Five Atmospheric Perspective is something which I use within my paintings where I want lots of depth and distance. When viewing an object at distance its colour and contrast are affected by a scattering of light due to particles in the air. To replicate this effect I reduce the contrast of the mountain layer by overpainting a layer of the sky colour using the airbrush. Image 1 shows the painting without any atmospheric perspective, the mountain appears clear and sits prominently in the piece. Image 2 shows the added atmospheric elements and instantly the mountain is pushed backwards and the image appears to have depth. 6

8 Stage Six The middle ground section is painted in the same steps as seen in stages 4 & 5. You can see how the distant mountain appears a lot further away due to the atmospheric elements added. As the painting progresses further forward I increase the amount of contrast. I again add the atmospheric elements to help separate this section and the foreground. I add different details within this section rather than just a rock formation. By adding different shapes it adds more visual interest and breaks up the image. Because the image is being created in a limited palette I need other visual changes to keep the image fresh and interesting. Stage Seven The base layer for the foreground is my darkest tone which helps bring it closer to the viewer. When I paint these sections I always paint the basic shape, making sure my edges are crisp and clean. I then lock the layer transparency which allows me to add the texture elements without worrying about painting over the background and then having to erase the unwanted parts. TIP: Now the foreground layer is painted and the canvas is completely covered, reduce the canvas or walk away from the image to see if your values are reading correctly in this small scale. 7

9 Stage Eight Time to add the texture and refinement to the foreground layer. I adjust the overall shape of this layer to help with the flow and directional cues (arrow). Again because of the limited palette, different shapes make the area visually more interesting, I pay more attention to the light and shadow of this area as its closer to the viewer and under closer scrutiny. Stage Nine At this stage in the painting I need to address the story telling part. In the pencil sketch I explored the idea of having different elements growing or living in that lower space. During the painting stages I decided upon having something which looked like vapor or a spiritual residue, as if something or someone had just arrived in that space. I explored different ways of trying to illustrate that idea and had to use plenty of creative license to complete it. I wanted to illustrate a ghostly trail but also something which looked like it was dissipating into the air. TIP: Using a contrasting colour you can emphasis a specific element or section, ideal when working with limited colour palettes. 8

10 Stage Ten When I was making the decision over the arrival idea and the vapor it made more sense to have the figure walking away from the scene. My thinking was that the figure had somehow made the arrival by some futuristic teleportation system and was walking away from his entry point, the evidence of that transport is the dissipating vapor. I find it helps me when I m painting scenes of fantasy or conceptual art to conjure a story for the image. The figure is firstly shaped to appear solid and 3D (form & shape) with emphasis on the low light source. This is using the same method of locking the layer so I only paint within the shape of the figure. By adding some lines of detail I imply the details and fittings some form of suit. The base colour for the figure was enhanced by its position being at the lightest part of the painting. 9

11 And that completes the painting, this tutorial explains some of the methods and techniques I take when taking a simple pencil sketch to finished painted image with only a limited palette. I hope you enjoyed following the process of this image and have taken something worthwhile from the methods or techniques. Thank you for reading. 10

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