I really wanted the luminescence of the city to spill over into the surrounding environment so I bumped up the contrast by intensifying the city lights and darkening the mountains (Fig.03). I didn't realize how grayed out my painting was getting until I flipped it. Flipping your canvas can be a life- and time-saver. When I am unsure about what I painted on my working layer I just turn it on and off to see if it helps or hinders the image (this technique is used throughout my process a lot!). At this stage I kept to two to three layers one working layer, one merged layer and a layer with my original color rough (for reference). When the shapes started reading at a distance I then began working in some more textures and colors. After I was satisfied with the rough comp, I started refining the shapes and edges (Fig.02). I painted the image while it was still small at this stage, because I find it much easier to work the whole composition when you're not zoomed in. All my warms were centralized and all the darkest values were basically pointing towards the focus. The way I thought about color and value at this point was kind of like a black hole everything radiated inwards toward the focal point. I kept the block-in very loose, using large round textured brushes so that I could add the shapes very quickly and also have a little bit of texture and noise to add some interest. I knew that I wanted the camera angle fairly low so that it would feel like you were a traveler looking up towards the citadel (Fig.01). I started by blocking in a rough composition in color.
With that in mind I knew I could keep the composition and concept simple so I could focus on the color and light. When I started the piece I knew from the brief I was given it had to include three things: a citadel, a town and mountains. It has a focal point that the viewer has to travel to and a surrounding environment that they have to traverse through.
This made the color palette very easy to decide on because torchlight is usually orange and snowy landscapes at night tend to be blue (or what we perceive to be blue). Temperature plays into the concept because I wanted the warm city to draw in the viewer. I envisioned a bright city in the midst of large, snowy mountains and a clear night sky. The approach I wanted to take was much like a desert oasis, except with snow. It also serves as a directional beacon that travelers could use to gain their bearings if stuck in a snowstorm or as a warning for approaching attackers. if you’re painting a green treed forest, add a variety of greens to add dimension and richness.įor more acrylic painting tips, check out this 35 acrylic painting tips post.This mountain citadel is a place of refuge for the citizens of this cold outpost town.
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