Well, whoda thought… another painting this week. This has actually been on my to do list (albeit way, way near the bottom – other painting(s) that were supposed to be done ahead of it include the long lost DMG 2009), but J decided to be cool and bump it way up. Like ahead of that essay I should be writing now.
But let’s forget about that essay since we’re writing this entry anyway and get to the paint.
I like this one. I actually like this one a lot. Since I was spending time that really wasn’t going to be allocated to painting, I really wanted it to be worth the time, and I think I pulled it off. Better than Yuki 2010. Better than Raine & Tear 2009. Is it really better than Misaka Mikoto 2009… I dunno; I still think the paint in that one is fantastic in its own right.
But wholistically, I like this one more.
Completely not a contributing factor to why I like it more is the fact that the lineart is done in ink. Real ink. Like I drew it in pencil, drew on it in ink, and scanned it. That kind of ink. There’s a couple spots touched up in OpenCanvas, but the majority of the work is the work done on paper.
This is the first time I’ve done final lineart in ink since… maybe never? The last time I didn’t trace lineart in OpenCanvas was in Haruhi 2007. Look, you can consider Yuki there to be my Yuki 2007. Prior to 2007, though, it seems like I was pretty confident with my pencil linearts…
Anyway, enough of that tangent. What I think this week’s piece finally does real well is colors. The multiple lighting in Misaka Mikoto 2009 really makes for some nice reds/yellows/oranges next to and merging into dark greys (I don’t really have a better way to put that), but it’s not really executed consistently. I really like the pinkish orange reddish blotches around the candles and oil lamp too, but less so fond of the dark orange “trim” on the foreground stuff, and I could go on and on, but I won’t.
Yuki was supposed to bring that kind of work on color together with some “tighter” lineart and painting, but somehow it just didn’t happen, and as I mentioned last week, Yuki just has relatively mediocre lineart and color. And those oversaturated books.
But this time. This time things went differently. Now that I think about it a little, the lineart may have turned out well because I knew I wasn’t going to digitally ink it, and therefore had to suck it up and do a good job on the paper iteration. As I’ve mentioned before, I usually end up doing a ton of adjustments in OC thanks to my rough paper work in paintings, and I think I might lose a lot of the lineart’s original “character” doing that. With the ink, it might be less.
With Yuki I originally intended to add the second light source after doing everything with the first, and I got lazy or something. It just involved a lot of going back and redoing shit I didn’t want to redo, so the monitor that was supposed to pushing soft blue light got turned off. With this week’s the red and blue lighting went on at the same time, and I just laid down a single layer for the background. Nothing tedious and fancy like the books or candles, but I think it works well in this context.
And I think that red and blue really helps. I really like some of the parts on her shirt and sleeve where you’ve got a purple core and orange/red and blue flanking it. They’re also just colors I don’t think I use too often. Blue is at least. I also think the paint job looks “tighter” because the size of the brush being used it’s small compared to the size of the figure, at least relative to Yuki and some of the Tales 2009 series.
As with Yuki, I also eyeballed the colors from reference pictures (rather than taking them straight off) and didn’t save a palette. Unlike Yuki, it didn’t take all week.
It’s Senjougahara, from Bakemonogatari, btw.
There’s also a marker version, which kinda sucks.
That’s all for today.