Any feelings on the spot illustrations? I am trying something new - I am using the technique that both Norman Rockwell and the Hildebrandt Brothers used/use. Which is to say, like them, I am working from photographs, which are then repainted into new characters and images.
Lacking a photography studio annex to my house with which to photograph friends and family in poses with dramatic lighting from which to work, I instead search the intertubes for photographs and then cut and paste individual items together to make a collage'. This then becomes the base from which I paint new characters and backgrounds and details into, using the photographic elements for reference, lighting, composition, shape and form.
For example, in today's chapter 4, the police sergeant with the VR glasses was painted over an image of Sigourny Weaver in Ghostbusters 2, which took a bit of work. Her face is very blocky, her shoulders huge, and her jaw massive, her hair... very big (at least in that photo). I, as you can see, used her basic body position as a base to create an entirely original person, with a different face, jaw, eyes, hair, shoulders, and outfit, and placed her in a completely original scene, and, of course, added a hat and VR glasses.
The benefit, though, is that I can get the lighting and the proportion very much more realistic than I could with my severe astigmatism and other faults, such as a massive lack of skill or talent. I was able to use the lighting on the photographic face to paint realistic looking lighting on the sergeant's face, and of course, get the proportions of nose to eye to mouth correct (for a change). I can see why the Hildebrandt Brothers, and Rockwell use/used this technique. It really helps out. It's kind of like having a photographic line sketch to work from, instead of just a line sketch.
The same was done for all the other images so far, with varying results. I can simulate the fur on Chet, for example, using a tool which reasonably mimics the look of fur on the original reference photograph I used. Unfortunately, the breed was different, so I had to compensate for both color and breed of dog, but I think the result is reasonably convincing. The tool I use for fur 'drags' the digital paint out in a tapering line. Done a LOT, the result looks sorta like fur. Don't you think?
One thing I did do entirely from scratch was Chet's tongue, nose and eyes. Those, I think, turned out very well.
So, what do you think? Interesting new technique (well, new for me, old for other artists like those mentioned)?