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Now we need to make the night sky glow with the most vivid and warm blue we can manage, and in the darker areas as deep and remote as possible.

This is the secret of getting this painting to work as the land masses will then be able to provide the absolute contrast in both color and painting method (scumbling).

To do this I glaze the sea three times in 4 days, see above, with a glaze mix of phthalo (a warm transparent blue) and a glaze medium ... and in the darker areas of the sea add some transparent red (permanent magenta).

This done we can add the stars and planets sparkling in the warm blues as if behind the landmasses. The simple method for achieving this is explained in the lesson on 'glow and light'.

Our next task is to make the landmasses human and familiar. This is where we can let our imagination rip. Faces, fauna, flora and suggestions of life forms from genesis to maturity. Everything and anything that suggests life.

Since the painting is getting rather dramatic I balance this with a predominance of smiling/carnival type faces rather than the opposite.

Next we must begin balancing/composing and making certain that the composition works and the overall feeling is entrancing. In fact, we need the painting to have sufficient 'wall presence' to draw people from afar with the drama of the composition and color, then keep them there with the detail of the abundant life. Mmm ... let's hide a few things as well that will keep folk peeking!

OK, let's take an look as if from a distance and see if the composition will be the drawcard we need ...

GO TO the world No3

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