Mermaid. My classmates had a profound discussion on what sort of music should accompany this scene.
Cobra in a Cathedral. She's probably quite a knowledgable giant snake, but prepare yourself for the advice you need but don't want to hear.
Skeleton Canyon. I ventured out of my comfort zone for the color here, but when depicting such an extreme sport I figured I should try for the same.
Traveler Arriving in a Stained Glass City. Process below.
Illustrations united by process rather than concept or content. Using Photoshop, I meshed together reference from photographs, which I used as a base for tracing and watercolor work. From there I returned to photoshop to further tweak color and value.
The photoshop composition was a chaos of ripping doors and windows from Barcelona and squeezing them into the back-alley of an Italian coastal down. The architecture beckoning from down the road belongs to Aït Benhaddou, Morocco - and the cats, well, they belong everywhere.
I attempted to reel in the chaos with simple value structures, but found I couldn't contain myself to just one light source.
With the magic of a printer and a light-table, I traced the photoshop composition in ink. Fearing the worst, I scanned it before adding textural work in watercolor. Somehow, it ended up with a bit of color, too.
I did much more work digitally with this piece than any of the others featured above. Photoshop has tools perfectly suited for creating the grow of a distant stained glass-dome, the warmth of windows a wanderer passes but cannot enter - and for managing the perspective on that pesky railing's shadow. Alas, I still needed input from my teacher and classmates on that front. At their advice, the shadows became softer and more inviting, the cut of light less harsh.
