It seems like most of the work I'm doing these days involves layouts and roughs and little finished work. The roughs are probably the hardest part--that's where all the hard stuff--composition, resolving anatomy--mostly takes place. Theres some pleasure and satisfaction in rendering and inking--not that I don't enjoy this part, it's just a little more stressful.
So here's the cow's diner. She smells the delicious gingerbread man (which you might notice tiny in the background).
Palette
So here's the cow's diner. She smells the delicious gingerbread man (which you might notice tiny in the background).
Oh yay. White has decided to become the color muddy when uploaded to blogger. Well, imagine the lighter shades of dishwater gray as white. It's all going to be a different color in the end, anyway. The red and blue are just in there to distinguish figures from ground, and architecture from background and has nothing to do with the real Palette
Palette
I've reworked a lot of the color in the few finished pieces I have done for this one. It seemed like I was committing myself to this very saturated palette because I was admiring other people's saturated palettes. But I guess high saturation doesn't work for me as well as I thought. Then I thought about the artists who generally inspire me and they don't tend to have astro bright colors. It's all about contrast. It's the subdued overall palette that makes brighter colors shine, even if they're not totally astro bright.
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