Hey Linda. Thought your q&a session wasn’t supposed to start until tomorrow. 0_o
Anyway, I can manage a few questions:
-One of the things that I feel separates your pieces from many others is your use of the negative space; your backgrounds never seem to be too fully-defined (except with some such as “euthanasia”, an excellent painting btw ;)), but they’re never dull or flat. There’s always something about that space that contributes to the rest of the space - a color tone that compliments the rest of the piece, or that brings out some contrast in the scene. And the backgrounds almost always have this “textured” look to them. I guess what my question about this would be is, how do you go about visualizing how to use this space? Is it sort of a trial and error thing or just a style that you’ve developed well-enough over time to be able to add to each piece with ease? Do you actually visualize how you want that background to look when you’re thinking up the painting?
-This may border along the lines of those “what brushes do you use” and “what software do you use” kind of questions that can miss the more essential topics one should focus on when beginning to learn digital painting…but what the hell. Basically, I’m curious to know how extensively you make use of layers in your paintings, if at all. Obviously, breaking a digital painting into separate layers can be extremely helpful (for separating the background from a person in the foreground, for instance). But when I first started out, I’d isolate things like shadows and highlights as separate layers, in order to make use of different blending modes and opacity settings to adjust the shadows to get it ‘just right’, instead of thinking about just coloring one layer with the right colors right from the start. I think that with the way I used to break things down into so many different layers, it would often lead everything to being either very oversatured, or undersatured, which I haven’t had as many problems with since changing. But then, maybe I just need more practice with working with multiple layers to get the technique down. Any thoughts on that?
-Just thought I’d add that, in reading Leanord’s intro post, this made me laugh:
Living a fairy-tale life, she would go hunting for witches in the woods.
Though I of course did similar things.
On a similar note though, you mentioned (from what Leanord quoted) that you’re “in love with old, cruel tales and the wickedness that comes wrapped up in lovely forms.”
Any particular ‘tales’ come to mind?
Also, more of an obscure question, but do you find that your environment contributes much to your imagination? (Example… being out at my old house always seems to fill my head with a thousand new ideas; it’s dozens of different environments all rolled in one. At the end of the field behind the house, there’s this creepy little forested area. The trees are still living (and look absolutely amazing in the summer time), but always have this sort of ‘dead’ feel to them. The ground is always covered in leaves, regardless of the season. And to top off the effect, there’s this little stream running through the center of it all that’s been bordering towards drying out for the past few years. It’s like something straight out of a C.J. Cherryh novel. There’s nothing like that in the surroundings of my drab dorm room; no houses that kids would swear are haunted, no crevices that you could imagine going on forever, nothing of any sort that leaves much to the imagination. I usually need to get out and get away just to think well enough to sketch out ideas) Would you say that your workplace and/or home help your imagination in that respect?
Heh, well I’ve run my mouth of enough for now.