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Description
BTT for Onna 8042 and Samira 8256 : VII - King or the Peasant?

I have worked very hard on this work and would love a good feedback, so if you have the opportunity and desire... you know what to do, I would be glad to see comments and favs ;>

Very long text because of an overabundance of emotions with regard to this detailed illustration.

For a month and a half, I worked hard on the drawing, paying attention to it almost every day for several hours. Perhaps, it is the most detailed one in my entire creative path. So that you can enjoy the drawing, I created a collage where some parts of the work are inserted in close-up.

I love this artwork. Yes, it was complicated. Very. But no less pleasant. I was doing the finishing touches and effects last night and I was a little sad that it is all... it is complete. The feelings were the same as when you watch the last episode of a favorite series or read the last chapter of an interesting book.

When I saved the final version, there were almost 360 layers. In the process of drawing many of them were merged or copied and different ways of naming layers from SAI and Photoshop brought down the score (i.e. 360 layers were created only in SAI), so in fact there were created about 500 ones or even more. Was my computer shocked? Definitely. Having gone through a lot of unpleasant experiences when the electricity is suddenly cut off or the program throws an error and requires you to close the canvas I save quite often. Already in the middle of working on the drawing, each save took 1-2 minutes in SAI and about 5 minutes in Photoshop (then Photoshop refused to open the file at all). It is also worth noting that the canvas resolution is 5100 pixels on the larger side.

Everything here is drawn from scratch. Even things done with texture brushes (grass and leaves) was detailed manually.
Many parts of the art had to be redrawn. This applies to three elements that play a major role in the background of the image. The first one is the rocks in the foreground. I started using one technique and I didn't like the way it looked, so I chose a different one that should have looked better. I went in this direction, sometimes looking at what was in the first version, and doubted whether the new version is really better. When I got to a certain point, I saw that it was more like vector graphics than realism. And I fell headlong into the details, drawing every crack. I had to work hard so that the volume was visible along with the detail. The second element is arched cliffs. I saw problems with perspective in the initial sketch and I had to think about how and where to add an additional arch to get rid of this problem. Then I could not decide on the technique for the cliffs, because they had to be similar to the front stones and at the same time less detailed. I was looking for the right variant on one of the arches, so it was redrawn about 4 times in various ways, until I came to the view that you can see now. And the third element is the field. I quite fast decided in which way I'll draw grass on arches, creating a new brush, but I had problems with the grass that is under the rocks. On the arches it looked in one way, in the foreground it looked different, on the field I started working in a third way. My usual texture brush did not fit, it was faded and not aesthetically pleasing, the new one could not work as beautifully as on the grass above, and it was extremely inconvenient to do everything manually from the very beginning. I struggled in the selection of techniques for about three hours, trying everything that came to mind, and in the end I was able to choose a similar one to the one on top, and I completely changed the grass in the foreground in this technique so that everything was in the same style. By the way, each tuft has many blades of grass made by hand, and the shades of the tufts were also selected independently, literally every 3-5 seconds it was necessary to change the color, coordinating it with the environment.

I really liked portraying these characters. They have very nice designs, which were interesting to work with, because I had to process one character in its entirety and the second one halved, because the shadows on the colored, white and almost black areas had to be done in different palettes and with different layer settings.

This illustration went through a lot of emotions and events with me, both pleasantly shocking and so disgusting that I would be happy to cut them out of my memory. I'm glad I could distract myself from the bad stuff by getting involved in all the tiny details. I am glad that I could channel my joy and energy into what I love. In any mood I sat down to this work, which sometimes itself affected this mood from "it looks so terrible, my hands are growing out of the wrong place, how can I even portray it" to "wow, I didn't know I could do this, it's so damn cool, I'm well done". I discovered a lot of new techniques, created several new brushes in both programs that I used to create and tried different layer modes that I didn't even know about before. Lots of impressions, lots of new experiences.

I would like to say a big thank you to my commissioner AkinaTakesora for their patience, constant support, giving me the opportunity to jump above my own head, as well as for the fact that I now understand how I want to evaluate works of this type and how to achieve the effect "so detailed as if I'm looking at a photo". And a special thank you for giving me the prehistory of the characters and a specific interpersonal situation that it is wanted to see in the drawing, it is always more interesting to work with. And another fun fact: among the many variants of poses and backgrounds, Akina chose the ones that I liked the most too.

Congratulations and thank you to all who have read to the end!

___________________________________________________

CHARACTERS: Onna, Samira

GENDER: female, female

SPECIES: kukuri (© Unikeko)

Onna, Samira belong to AkinaTakesora

___________________________________________________

WORK TYPE: Detailed scene with cellshading

PROGRAM: Paint Tool SAI 2 and Photoshop CS5

TABLET: Huion 420

ART © VQnava

!THIS WORK MAY NOT BE USED, EDITED, COPIED, PUBLISHED OR UPLOADED IN ANY WAYS WITHOUT MY WRITTEN PERMISSION!

Description
BTT for Onna 8042 and Samira 8256 : VII - King or the Peasant?

I have worked very hard on this work and would love a good feedback, so if you have the opportunity and desire... you know what to do, I would be glad to see comments and favs ;>

Very long text because of an overabundance of emotions with regard to this detailed illustration.

For a month and a half, I worked hard on the drawing, paying attention to it almost every day for several hours. Perhaps, it is the most detailed one in my entire creative path. So that you can enjoy the drawing, I created a collage where some parts of the work are inserted in close-up.

I love this artwork. Yes, it was complicated. Very. But no less pleasant. I was doing the finishing touches and effects last night and I was a little sad that it is all... it is complete. The feelings were the same as when you watch the last episode of a favorite series or read the last chapter of an interesting book.

When I saved the final version, there were almost 360 layers. In the process of drawing many of them were merged or copied and different ways of naming layers from SAI and Photoshop brought down the score (i.e. 360 layers were created only in SAI), so in fact there were created about 500 ones or even more. Was my computer shocked? Definitely. Having gone through a lot of unpleasant experiences when the electricity is suddenly cut off or the program throws an error and requires you to close the canvas I save quite often. Already in the middle of working on the drawing, each save took 1-2 minutes in SAI and about 5 minutes in Photoshop (then Photoshop refused to open the file at all). It is also worth noting that the canvas resolution is 5100 pixels on the larger side.

Everything here is drawn from scratch. Even things done with texture brushes (grass and leaves) was detailed manually.
Many parts of the art had to be redrawn. This applies to three elements that play a major role in the background of the image. The first one is the rocks in the foreground. I started using one technique and I didn't like the way it looked, so I chose a different one that should have looked better. I went in this direction, sometimes looking at what was in the first version, and doubted whether the new version is really better. When I got to a certain point, I saw that it was more like vector graphics than realism. And I fell headlong into the details, drawing every crack. I had to work hard so that the volume was visible along with the detail. The second element is arched cliffs. I saw problems with perspective in the initial sketch and I had to think about how and where to add an additional arch to get rid of this problem. Then I could not decide on the technique for the cliffs, because they had to be similar to the front stones and at the same time less detailed. I was looking for the right variant on one of the arches, so it was redrawn about 4 times in various ways, until I came to the view that you can see now. And the third element is the field. I quite fast decided in which way I'll draw grass on arches, creating a new brush, but I had problems with the grass that is under the rocks. On the arches it looked in one way, in the foreground it looked different, on the field I started working in a third way. My usual texture brush did not fit, it was faded and not aesthetically pleasing, the new one could not work as beautifully as on the grass above, and it was extremely inconvenient to do everything manually from the very beginning. I struggled in the selection of techniques for about three hours, trying everything that came to mind, and in the end I was able to choose a similar one to the one on top, and I completely changed the grass in the foreground in this technique so that everything was in the same style. By the way, each tuft has many blades of grass made by hand, and the shades of the tufts were also selected independently, literally every 3-5 seconds it was necessary to change the color, coordinating it with the environment.

I really liked portraying these characters. They have very nice designs, which were interesting to work with, because I had to process one character in its entirety and the second one halved, because the shadows on the colored, white and almost black areas had to be done in different palettes and with different layer settings.

This illustration went through a lot of emotions and events with me, both pleasantly shocking and so disgusting that I would be happy to cut them out of my memory. I'm glad I could distract myself from the bad stuff by getting involved in all the tiny details. I am glad that I could channel my joy and energy into what I love. In any mood I sat down to this work, which sometimes itself affected this mood from "it looks so terrible, my hands are growing out of the wrong place, how can I even portray it" to "wow, I didn't know I could do this, it's so damn cool, I'm well done". I discovered a lot of new techniques, created several new brushes in both programs that I used to create and tried different layer modes that I didn't even know about before. Lots of impressions, lots of new experiences.

I would like to say a big thank you to my commissioner AkinaTakesora for their patience, constant support, giving me the opportunity to jump above my own head, as well as for the fact that I now understand how I want to evaluate works of this type and how to achieve the effect "so detailed as if I'm looking at a photo". And a special thank you for giving me the prehistory of the characters and a specific interpersonal situation that it is wanted to see in the drawing, it is always more interesting to work with. And another fun fact: among the many variants of poses and backgrounds, Akina chose the ones that I liked the most too.

Congratulations and thank you to all who have read to the end!

___________________________________________________

CHARACTERS: Onna, Samira

GENDER: female, female

SPECIES: kukuri (© Unikeko)

Onna, Samira belong to AkinaTakesora

___________________________________________________

WORK TYPE: Detailed scene with cellshading

PROGRAM: Paint Tool SAI 2 and Photoshop CS5

TABLET: Huion 420

ART © VQnava

!THIS WORK MAY NOT BE USED, EDITED, COPIED, PUBLISHED OR UPLOADED IN ANY WAYS WITHOUT MY WRITTEN PERMISSION!