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  • A creature design from a while back
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  • Lady Death Fanart Collectible: Part 6 Polypaint and base Hi, it’s time to share with you another part of the process to create this fanart piece. Polypaint As this is my first collectible fanart I didn’t have previous experience with polypaint so I tried my best and played a bit with it.I wanted to give a ghostly and eerie look to Lady Death, she is beautiful and deadly, but at the end of the day she is a woman that died and was reborn at hell as an avenging spirit, that’s why I gave her skin tone a bluish very cold tone.As you will see I gave myself some creative freedom to deviate from the traditional color scheme that this characater has in comics and illustrations.To add a bit of sensuality by painting some freckles on the face and the chest. The dark nature of this character was the perfect excuse to gave her a kind of goth make up, very dark shadows around the eyes, blue lips and fingernails. I know that the original character includes sexy red lips but I wanted this girl to have a sexy but at the same time creepy look, that’s why we can see some thin veins emanating from her eyes. The biggest chromatic change I did for this character is at the hair. Lady Death has a characteristic white weavy hair but in my fanart I decided to gave her a very saturated blue color.The reason behind this wasn’t only an aesthetic choice. I want that the face area strongly pulls the attention of the viewer so this area needed a stronger contrast. Another reason is that I want her to have a more modern look, as I mentioned before, I’m strongly attracted to women with goth/punk look. I gave myself half an hour or more to analyse the work of experienced sculptors that create collectibles and I discovered that the use of darker values on the skin is often applied to create a greater sense of volume and three-dimensionality. I found that areas with heavy ambient occlusion are the perfect places to paint with darker colors in order to increase the separation between different forms. Even though she has a bluish skin tone, I used a bit of warmer hues in areas that, in real life, tend to go towards red and pink, this is very obvious in the nose, cheeks, and knuckles. Thinking with a logical mind it’s completely absurd to have warmer tones on the body of a zombie like creature but I didn’t want to limit myself by using only blue tones, it looks boring and artificial. In real life these colors are created by blood vessels in areas where the skin is very thin. ** Scythe **for her weapon I applied a cool gray with some warmer variations, this color scheme is influenced by the work of H.R giger. Base I’d like to talk about the design for the base which, to be honest, I forgot to develop along with the character.My main idea with the base is to show that Lady Death inhabits a very sterile and arid land, at the end of the day she is at hell.You can see a that she walks over dirt and rocks, a sign that she’s surrounded by death and loneliness. As part of the landscape we can see some bones and skulls to reinforce the idea of lack of living creatures, yet we can see three hands that try to reach her legs.This hands represent that all creatures are subordinated to her power and seek an evil blessing with a simple touch of the princess of the damned.1- The hand with skin burns represents the souls of those who are newcomers to hell, tortured souls that suffer for the sins comitted on earth.2- The hand with greenish rotten skin and pustules is the reminder of the decay that has infected the souls of those who have been trapped and have forgotten their humanity3- Last but not least, the hand of a demon shows that even dark creatures and entities bow before her presence. The cherry on the top, at least in my vision, are the simese twins that emerge from the ground, this malevolent creatures remind us that in hell there’s only perversion and any trace of innocence is lost. Thanks for reading till this pointI’m really happy to be very close to finish this creative journey, last but not least it’s mandatory to talk about splitting the sculpture in several pieces to be printed, this will be my last entry before showing the final rendered images. See yaMay Zbrush be with you
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  • @patrycja.lerch Thank you I created another variant, which might capture the witch look I was going for better
  • Thank you @daceronine! If I remember I save in google cloud, I will have to stick a note to do it more often. Lamp is from life. Poses are from refs but I look at refs for a while and then try to do it myself and look it up if needed. Outfits and rest is from imagination Something went wrong while installing system so we will have to wipe everything again... pc works but something is wrong. We will wait till internet is done and I will save everything on cloud this time Threads came out in eu. It's been 3 days and I had more engagement than after half a year on instagram. It feels really nice I hope it stays this way A portrait of old dude. It's the same character I posted a while ago. Inspired by Bayard Wu work. At first I thought of him as a bear but I named him Fenrir and I think wolf suits him better. Eye gave me a bit of hard time but I think it is fine now. I focused on face and forgot about area below. The way I draw hair clashes with greying hair. I had the same problem while doing Lohse's white hair. Does it looks like it is greying here? I love how desaturated red looks blue there. I keep lying to myself that I will use different color scheme but It all comes down to this blue and yellowish one it is just flipped this time Have a great day!
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any critique and comments welcome.

List of things I learned during this painting:
- learn to paint hair. I'm not thinking of 'chunks' of hair as forms. Drawing strands of hair is fun but won't get me as far in the long run. Feel free to contend this
- Plan out the shapes, full image as a thumbnail, blocking it in and get those values right before rendering, detailing so much. Also have an idea of the lighting for the whole scene from the thumbnail phase. (I went straight into linework of the face)
- Work from a good reference photo, the original here was very dark, bad lighting, very grey but I wanted to paint colors. I had a lot of intermediate steps where I was reshaping the curves and bringing up the saturation or contrast.

12 days later

Can you post the reference photo to compare?

20 days later

@urrubbish3

So after reading your statement and trying to get a clearer picture of what you learned during your painting I'll try not to add any moot points. The last one though I thought I could help you with.

So I don't know if the photo was necessarily "bad". But you definitely chose the wrong reference for painting saturated colors.

It might have been a poor screen cap or something because I found another couple of photo's of the same shoot day and the color was way different.

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And then I even found a different version of your original shot.
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So I don't know what is going on. Maybe go on history channel or amazon prime and freeze the show on your own screen to see how the director wanted it to look. Straight from the source.

That being said.
I actually think your painting was nice, because you pulled off something that you weren't even able to see. I actually really enjoy the pallet. I think the opportunity that you missed however was painting a dull painting, which can be extremely educational.

By making your pallet duller, you have to choose your colors more wisely, and it takes a bit of time because it is so subtle. Each time I chose the color for shadow shapes, mid tones and highlights for the example below I stayed very close to the same region of the color saturation, and brightness. However the hue was warm, cool, neutral, all over the place which made for a challenging painting.

When I started life drawing there was this old artist there who had been painting for decades and people often asked him beginner questions which he hated. Someone asked one day, "what about grey?" And he literally screamed, "Gray, gray, GRAAAAY!! I could paint my whole life in grey and you'd say, "oh what amazing colors!" And I never forgot that.

Anyhow, my point is that every time you choose a color from the wheel, look at your reference, blur your eyes, and look at an overall section, make the color in the color wheel, and paint a swatch. Is your color more or less darker/lighter, duller/saturated, warm/cool. For each one ( saturation, brightness, hue) paint a new swatch over your old one till you get it perfect.

Do that EVERY TIME, for every color, and you will start to learn to mix colors.

Here's my first try at getting this bounce light on the left side of his head.

Then see how much the color wheel changed after I got as close as I could?

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And then here is the actual color, got pretty close!

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My point is that you can learn a lot despite what your reference is. This shot probably had those light reflectors every where so that they could even see his face which makes for difficult paintings, but not impossible.

There is the possibility that the director wanted it that way, (we wont know until we see the original screen cap) But think of it in metaphorical terms. I prefer food ones. You wanted a piece of candy, probably a green apple jolly rancher. Maybe the director wanted moldy lintle soup...?

I hope that helps, whatever flavor you choose. Great effort and put another notch on that axe.