Sketch development
With these ideas in place, I try some actual drawings. Try to work small – a “thumbnail sketch” it’s called – to save time. You can do several tiny sketches in the amount of time it would take you to do one big one, and it’s easier to see the overall composition at a small size, too.
This sketch page is one I put a few rough ideas on (you can see some lightly in the background) and some more detailed ideas on top. At first I thought the Unsullied warrior might kick the opponent away, but this was looking awkward, so I changed to pushing with his arm extended. Much better.
Here, I’ve done a second version, a bit larger. All the elements are in place, very roughly. I haven’t spent a lot of time on the costumes or even the anatomy, but I think the layout is solid. A few things to note:
- The background element is in place, and helps the composition by stopping the eye at the back of the fighter. Always figure out your background placement at this point, so that it helps both the composition and the storytelling. It doesn’t have to be a lot – this one is minimal – but something to show where your story is taking place is almost always useful.
- I used a “camera” angle looking slightly UP at my main character. This is to make him look more impressive and dominating. A downward shot would have given the impression of you, the viewer, being detached from the scene, while this angle will subconsciously make the viewer feel involved and even imperiled.
- The drawing is very loose and unfinished. Don’t spend too much time on the sketch! This is just for approval, and as a professional artist every minute counts. All you need here is just enough to convince the client that you can proceed to the next step.
Now, at this point I made a JPEG and sent it off to the client. And within a day, I was approved to go forward with the final!
Photo Session
Some artists skip this step, and don’t miss it at all. Some should do it and don’t. Others rely so much on photographs that the life is sucked screaming from their pictures. As for myself, I take reference photos about half the time. Whether or not to take them depends on a combination of things: the level of realistic lighting and detail you wish to reach, your own ability to “fake” reality, personal style, and the requirements of the scene you’ve designed.
For me, the most important part of reference photography is getting interesting lighting effects. Also important are details like facial wrinkles, drapery, etc. Finally, using your photograph as a model for getting your figures just right is very useful.
Just remember two things about photographic reference, whether it’s your own or found: First, the camera WILL distort the perspective, so look out for places where it does that (mostly around the edges). Second, the camera WILL exaggerate contrasts, so watch out for that too! Also, don’t forget that YOU are allowed to exaggerate and distort things that you feel need more or less emphasis.
Once you make the decision to take photos, you need to round up a model or two. I have seldom used professional models, though high-end book covers truly call for them. Usually, I can get a friend or family member to come over and do the job for me – I try to make it quick and painless for them, and it’s usually a fun time. This is important if you use volunteers; you want them to come back and do it again some time!
I just use my bedroom. Sometimes I’ll go to the trouble of tacking up sheets to get a good smooth background, but this time I didn’t bother. You should have some good bright lights that you can adjust to the position you need, and the ability to block off most of the outside light so your lighting is controlled. Also, a digital camera is a must – you don’t want the delay or cost of getting prints every time you want some reference.
Here are the photographs I took for this picture. My biggest mistake was forgetting to ask my model to tuck in his shirt. The BEST part of the whole thing was that fantastic expression he gave the stabber… I knew I’d want to capture that in the final painting!
I have a lot of props, which I’ve collected at second hand shops and garage sales over the years. This time I just used a sword, but I’ve got lots of other things that I use for costuming. Always keep an eye out for cheap things you might need for your models to wear or hold.
