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Cover Story: Manny Avetisyan's Process (view source)
Revision as of 22:03, 2 August 2020
, 22:03, 2 August 2020no edit summary
===Page 14 test===
'''Highlights'''<br>
Probably my favorite part but the most tedious, I painted in the light areas using Daler Rowney’s Pro White paint. It’s kind of like a white gauche. Often you have to keep layering to get the desired look, but this allows you to build up, giving you extra control. I tried to maintain a single main light-source, but overall took liberties where I felt it would make the piece stronger.
'''Color'''<br>
I decided early on I would use a limited palette, adding hints of color and trying not to over do it. I mainly used the Copic markers for color. Since the canvas is a tonal mat-board, color doesn’t show up like on white. Areas where I want color to really stand out, I first have to paint over with the white.
===Page 15 text===
'''Lines'''<br>
Time to reinforce the line work. So far all the lines were mainly the graphite from the transfer paper. I now go in and re-line all of the artwork using Micron pens ranging from burnt umber, brown and black, depending on what I want to make “pop.”
'''Pure Blacks'''<br>
Using Higgins Black Magic ink,
I paint in all of the areas I wanted pure black. This is easy to overdo, so I must be selective. Pure blacks tend to bring things to the foreground, an effect you don’t always want. I used the pure blacks to guide the viewer’s eye around the piece.
'''Pure Whites and Highlights'''<br>
Going back through the entire piece I reinforced light areas I really wanted to “pop” by making them pure white.
===Page 16 text===
'''Finishing Touches'''<br>I could probably spend another 100 hours adding gags and fun elements all over the piece, but I refrain. Just enough to get a few messages across.
===Page 17 text===
Finished Piece
Hope you enjoyed the piece and tutorial. You can see the original at ISCA Con 2016!
