Fig. 15 Sometimes you have to put the picture upside down or, as shown in this example, look at the mirrored version to perhaps improve the perspective. Until now, the one thing that annoyed my while composing was that there is no “entrance” to the artwork. The character stood with its back towards the entrance and so blocked the way into the picture. A simple turn may improve the overall situation considerably … just try to do this in conventional paintings… To give the composing a glowing, almost dreamy touch, I bathe the whole artwork in one color. A shaken archived photograph of an architectural nighttime exposure, which you would delete immediately under normal circumstances, has the necessary glow to bathe the rest of the artwork in ochre hues all over under the layer function vivid light”: So I have created a completely different lighting situation in a brace of shakes.
Fig.16 shows a little trick for those who have enough space on their monitor or those who do not want to name every single layer but in spite of that like to know which layer they are on at any time; with one click of the tiny arrow (see circle in Fig. 16) a context menu for the layer inspector pops up which contains various features, e.g. the layer palette. There, you may adjust a miniature view of the single layers to your own requirements.
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Second part of the tutorial, “Finishing The Angels” will be available on ArtCone next week. Stay tuned!
