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Chapter 1:
 
Inspirations
 
and 
 
idea.
You may consider this as less important, but it is very help-ful when you realize what exactly you want to draw. Separatewhat is main theme from what should be left in background.Basically I wanted to surprise audience with that bed stand-ing in the middle of some mysterious forest. When gaze move tothat bed you probably think "why the hell is standing here...",than you may notice little boy in his pyjama guided by a fairy.But in first look he's hard to be seen, and that is what i wanted toachieve -make somebody to think what is doing that bed amongthe trees. What inspired me for this one is one of Pink Floyd'salbum cover with lots of beds standing on the lonely beach inearly morning. I don't remember which album I'm talking about,more, I've never seen it, only read about it in music magazinebut it was main inspiration for that picture.
Chapter 2:
 
Getting started.
I made this one using Adobe Photoshop and my wacomtablet. It makes no difference if you using PS7 or PS8 since allused options/tools are available in version 7. First we need todecide what resolution is suitable for our image. Original size of my is 3000x2250 pixels but half of that would be also enough Iguess. It is better to work with large resolutions cause you don'tneed to draw in extreme zoom mode when you are able to seeseparate pixels.First what we need to do is fill white background with somemore appropriate color. Because I wanted to draw forest, it isnatural to choose something between green and blue. I don't likemaking outline sketch, so I go straight to colour scheme andcomposition. In the beginning I don't use large amount of vari-ous colours. With straight strong strokes I wanna get right com-position and place all things in my scene.It is very important to draw image"global" not only one part. It is verycommon that people work on detail of aneye for example, when mouth and noseare don't even started. Don't do that,work one every part of image in thesame time. That will make your picturewell designed. And it is way easier tocatch and correct all errors and imper-fections of composition/color/or what-ever, when it's not too late.With only few colours I draw baseshapes and areas of my scene. I usehard brush with "wet edges" mode. Re-member to make it sensitive to pen pres-sure, and set spacing to 1% to getsmooth strokes. I use opacity about 77%for that brush and pressing pen harder Iget more intensive colour.
brush settings
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Page 2 of 10
 
Chapter 3:
 
making
 
a
 
mess.
That is my favorite part of makingimages. At this stage I don't care about anydetail. I'm totally free conducting various ex-periments with colours and brush properties.Most important is to get good light effect andcolour scheme. Mess with colours as long asit needs to look good.Keep in mind that all things in real world aren't one colour. Sowhen i draw a tree trunk for example I don't use only bronze/green.When you realize that every thing in real world does have plenty of colours (very subtle sometimes but it does) your works will get anew fresh, mature look. You see I add more colors to my scene andwork on composition. I decided to put that thin long branches -I'venever seen something like that in real forest but I though they couldfit here and bring a little bit fairy-tale mood which I expected.I bring more contrast to the trees using dark blue colour. Re-member not to draw shadows with black -there are no BLACK shad-ows in real world. They may be very very dark and strong but still-no black.
www.evermotion.org
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