I recently did new illustrations for my portfolio, using the 2019 SCBWI LA Conference Illustrator Intensive: A Modern Retelling of Goldilocks and the Three Bears. Here's How I did the illustrations... Compostions![]()
![]() I then sketch the layout larger, to place all the elements. I gather reference images which help develop iterations of the finish drawing. The final art size will be big enough to capture the details. Sketching & Reference![]() Between each sketch iteration, I get feedback and critiques. My crit partners note the characters look too doll-like and need to be more expressive. So I do more research and sketching in my sketchbook and on my iPad. Pigs and bears! What could be more fun? Value Studies![]() On to the Value studies. I start by doing a black and white "Notan" with a thick marking pen. ![]() Then I do some value studies to determine the light and dark mood of the piece. Ok, ready to move to color! Color StudiesBefore I start painting, I try various watercolor mixes and blends, keeping notes to figure out how I will mix my colors and create a palette. I narrow it down to 13 colors. Is that a lot? ![]() On my watercolor palette, I tape over the colors I will not be using, to force me to "limit" my palette. Sometimes I sneak my brush under the tape anyway! I then do a small Color Study for the illustration, based on my value study and color notes. This is my favorite part of the process. I keep it loose and impressionistic. I love these little gems. I have to be careful not to fall in love with it, or I won't want to continue on to the next step... Finish PaintingIt's time to to paint the finish illustration. ![]() I transfer my final drawing on watercolor paper. Then I stretch and mount the paper on to board. This is my "transition" phase and helps me psych myself out to paint. I go piece by piece, like a jigsaw puzzle. Layer after layer, pushing the values darker and the colors brighter. ![]() I use my color study and notes as a guide. ![]() I also use colored pencils to add texture and refine areas. When in doubt, I consult reference images to help with tricky areas... like the bubble bath! Next, I have to Scan or Photograph the paintings into digital form. These finishes are too big for my scanner, so I photograph them. ![]() I tape the illustrations to the side of my house in direct sunlight. I include a "grey card", to help with the color correcting in photoshop. With Photoshop, I can make even more adjustments, but I try to limit them so I don't loose the fresh watercolor quality. Someday I'll try a whole painting in photoshop. Goldipig and the Three Bears.
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AuthorMichelle Rodes is an author/Illustrator in Walnut Creek, CA. Archives
July 2019
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