Through this Benadryl-induced mist clouding my allergy ridden brain, I vaguely recall that I promised everyone a “Behind the Scenes” post chronicling the making of “Jane Bennet”.
She is the latest in my Pride and Prejudice cat adaptation, a digitally painted portrait of the eldest Bennet sister.
The model for Jane was Noelle Clearwater’s gorgeous silky furred SarahJane… who sadly crossed over the bridge last October, after 19 years on this earth. I began her painting in September, and sadly didn’t get it finished before she passed.
I toyed with a few different settings, including a melancholy winter scene with Jane mourning the absence of Bingley. Looking for just the right pose, I dug through my old Regency photo shoots, and came across this image.
It reminded me of a particular scene from the 1995’s miniseries, where Jane and Lizzy have a tête-à-tête following the Meryton ball, while picking flowers on the grounds of Longbourn.
He is just what a young man ought to be. Sensible, good-humoured, lively; and I never saw such happy manners! — so much ease, with such perfect good breeding!
So I sketched the initial design for Jane, scanned it into Photoshop; then I drew the fence and shrubbery digitally with my stylus.
Next I began laying the color foundations, using a separate layer for each object in the picture, beginning with the bottom (or farthest from our view).
Working with one layer at a time allows me to keep the rest of my painting unaffected, as I tend to work without any concrete plans, and change my mind frequently.
This portrait especially challenged my newly developing skills… as multiple times I stared at the screen, suffering from artist’s block, without any clue how to achieve the desired look.
This painting would sit for weeks in my Progress folder, while my subconscious sorted out the problem.
I began with the simplest project in the piece… the grapevine basket. I’ve drawn and painted baskets before, and one of my first attempts at digital paintings involved a very similar basket design. Originally I smudged all the shadows and highlights by hand (i.e. with stylus/mouse), but with Gaussian Blur it becomes 10x easier.
No, make that 50x easier!
Simply draw your shadow lines and highlighted lines, and then blur the heck out of them (using Gaussian Blur). Sometimes it needs to be done a few times, or else set the layer to multiply, in order to make the shadows dark enough for your preference.
My first obstacle involved the wood grain texture of my fence. It would be simple to choose a photographic texture for the grain, and apply it with Burn or Overlay. However, I wanted to grow and improve as a digital painter, and was determined to paint the texture myself.
This screenshot of the program shows where I’ve shaded the wooden posts and was beginning to add squiggly dark grain lines, which I’d later blend in with Smudge/Blur.
(You’ll notice I had the dress and background layers turned off… I’ll do that often to focus my concentration)
Next, I painted her dress. I have a love/hate relationship with fabric. I’m not always sure where the folds are, and how the colors shift; it’s difficult to tell from a photograph. So I usually just use my imagination and paint wrinkles and folds however I want, whether it’s technically accurate or not.
This is the one instance in the painting where I did use a fabric texture to create the little rosebuds. I had planned to paint the design by hand, but grew lazy…
This is the same technique I’ve used before, and explained in detail with Mr. Bennet’s portrait.
I used my tweed fabric texture on her shawl. In this shot, you can see my cursor (in Eraser mode) trimming off the excess texture where it overlapped onto her dress.
Moving on to the fur layer, I painted the shadows of her face in pale purple, and using the Smudge tool in a small brush size (with heavy pressure: 50-70%) pulled out large tufts and smaller strands of fur.
Her eyes were a blend of blues, purple (for shadow), green, and yellow… I placed dabs of each color and blended with the Blur tool. I manually blended a bit as well.
Her tail was done the same way. I colored it completely white, and added lines of purple for shading, then Smudged all the chunks of fur in various directions, with a flowing manner.
Since Jane is a long-haired cat, the Smudge pressure needed to be heavy to produce the longest strands. A short, light pressure will break early and leave shorter tufts.
It was around this point that I uploaded my first set of screenshots to Flickr, and gave everyone a WIP update. Noelle was enthusiastic, but mentioned that Jane’s one eye should be green.
Not a serious problem with Photoshop however, thanks to the “color replacement tool” that allows you to substitute one color for another, leaving the shading values mostly intact. The tool tries to replicate all the shadows and highlights in the new color scheme, although sometimes it is a little “off” and you’ll lose details, so touch-ups will be necessary.
But it definitely helps to discover this tool before you re-color an entire area from scratch!
Like I wound up doing 3 years ago with a mermaid’s tail, at a customer’s request.
This image shows my beginning work on Jane’s hairstyle and ringlets. I drew this style from my imagination because I didn’t have any hair references that appealed to me. Again, the shadows are getting drawn in purple.
I began smudging with a thick brush and light pressure, just to get the rough outline of hair growth… then I went back and pulled tiny strands of hair using a heavier pressure.
Here is what her hair looks like after drawing a gazillion strands, and adding some highlights…
pure white lines and some yellow sun-kissed spots.
Drawing and smudging hair is very time-consuming, but it’s also semi-relaxing due to the repetitive, flowing movement. You can literally sit for hours and just draw lines of hair. :P
Painting flowers, on the other hand, is not relaxing at all. Actually, this basket full of roses was a bit nerve-wracking… Flowers are incredibly detailed, but I tried to simplify it for myself by painting them in swirls and blobs.
Have you ever decorated a cake with piped roses?
You begin by piping a blob of icing onto a metal platform called a “flower nail”… and then make a swirl around the top, and add crescent-shaped petals around the swirled center.
I approached these flowers just like that. Swirls and blobs, swirls and blobs, with blurred highlights and shadows. LOL
And those green furry blobs?? I was trying to fill up the basket with “green stuff”, so I wouldn’t need as many flowers. :P
I also added lots of white blobs (i.e. baby’s breath) for filler.
After looking at the entire portrait, I decided that her pale purple dress wasn’t the right color… so I chose a warmer pink to complement the roses. I also began to detest the ugly brown I’d used previously for her shawl, and opted instead for lavender. Yay for the color replacement tool!
So here stands rosy-cheeked Jane Bennet, amongst her flower garden… and something is missing.
I needed to finish the leafy bushes in the background, and God help me, I did not want to paint leaves.
I procrastinated for a long while, and finally searched Deviantart for suitable photographs that I could use as a backdrop. But nothing looked quite right.
What to do….
The answer was so obvious, I’m fortunate it wasn’t a blasted snake. This is Photoshop after all, and I use the cut and paste tool only a million times per day…
One morning after eating my brain food (a.k.a. oatmeal banana pancakes), I realized that I could paint a small patch of leaves onto a transparent layer, and copy them repeatedly all over the shrubbery.
“Lightbulb”, as Gru would say (from my kids’ new favorite movie).
Don’t tell me these look like poison ivy leaves.
I filled up the background with them, and also pasted some over the fence layer, giving the illusion that leaves were poking through the slats in the fence.
Again, do NOT mention their resemblance to poison ivy.
I’m warning ya’. ;)
To give some depth to the shrubs, I added a couple additional layers and painted large blobs of green with a “wet watercolor” brush setting. The bottom layer was blurred and lightened.
I think the overall effect looks nice and leafy.
The finishing touch was to add grass. Just a wide strip of green across the bottom of the painting, which was smudged into long blades of grass (just like cat fur).
But I’m not quite done yet, adding a couple of roses growing in the bush, lighter shades of grass, and a few more leaves.
It’s dangerously easy to overwork a painting, and hopefully I stopped myself just in time. I have a habit of trying to add too many details…
The finished Miss Bennet, just in time for an early spring!
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