Monday, December 30, 2013

Merry Krampus! (Part II)


Sure, it's a little past Christmas, but I decided to do another Krampus drawing--This one is a little more on model.  Again, I thought it was more amusing to have him look like he decided to have his portrait done at the local K-Mart's Photo Center (it doesn't take much to amuse me, apparently).

Alas, after I had the drawing halfway finished I began to think it looked like something Ed "Big Daddy" Roth would have drawn.  I just needed to put Krampus in a dragster with a large gear shift and he would fit right in.

Krampus and Rat Fink -- Separated at Birth?

For those of you who are interested, here's the process:

* * *

STEP ONE:  I used vine charcoal to roughly draw out the figure on a 9" x 12" piece of Strathmore Gray Toned drawing paper.  I really like working on toned paper, as it gives three immediate values Light, Mid-Tone, and Dark, rather than just two (Dark marks on Light paper).

Once again, I didn't bother using a photo-reference this time, as I had just done about 8 hours of figure drawing throughout the week and felt I had this relatively simple portrait in the bag.  Of course, pride usually goes before the fall.  :-D

* * *

STEP TWO:  And, as I normally do, I smeared everything into a soft, blurry mess.  Usually, I do this to lay down some of the beginnings of where the shadows will go and to generally just keep the charcoal on the paper.  As vine charcoal is so soft and will smudge if touched, I find it better to smear it around to keep it on the page, ironically.

* * *

STEP THREE:  I then begin to use charcoal and carbon pencils to build up the darks and shadows within the picture and carve out highlights with a kneaded eraser to see where the light source will fall.  You may be surprised how much drawing you can do with an eraser.  :-)

 * * *

STEP FOUR:  I finished up the darks on the page.  In and of itself, the drawing is mostly OK as dark lines on mid-toned paper.  However, it is adding the white highlights which really make a drawing on toned paper "pop".

* * *

STEP FIVE:  I used a General's white charcoal pencil to add whites and highlights to the drawing.  The photo sort of fails to catch some of the subtle gradations, however, I was hoping it would show enough to demonstrate the big difference adding just a little highlight can make.  At this point, I just took a picture with my camera and imported it into PhotoShop to finish the drawing and begin adding color.

* * *

STEP SIX:  I decided to just finish the black-and-white portion in PhotoShop, since I would have to do the background and most of the finalized fur effects digitally, anyways.  For the fur, I used a brush which was included on the disc of one of the (many) "ImagineFX" magazines I have laying about the house; the brush consists of about a dozen or so dots of slightly differing sizes and line densities and give a really nice effect.

* * *

STEP SEVEN:  Over top the black-and-white drawing, I added a MULTIPLY LAYER to do most of the colorization, but also did some coloring overtop the drawing directly on a normal layer, as well--mostly for final highlights and areas that need a little more "brightness" to them.  At the end, I flattened all layers, did some minor adjustments to the levels, and called it "good 'nuff!" 

* * *

This was done with charcoal, carbon pencil, and white chalk on 9" x 12" Strathmore gray toned paper and digitally colored in PhotoShop.


No comments:

Post a Comment