As usual I suffered from my 1.5 hour mark slump. What is it about the base layer that frustrates me so much? I think I get too detailed too quickly and then have trouble working back in later. I ended up scrapping a few layers, going back with a completely flat non-opaque brush and laying out solid colors in shapes. To expedite things, I put the reference photo on a lower layer and got the gesture shape of the rocks. Is that cheating? It's probably cheating.
Here's the reference image:
|"Ulsan Rock in Sorack Mountains" by miquitos|
I learned my lesson from the painting a couple days ago and isolated foreground and background on separate layers. First I focused purely on the mountain:
|There's a few layers in here and some texture from brushes and photographs.|
|More like gritty, gestury little trees.|
Finally I went in with gradients and details to deal with the color and to up the contrast. I consider lighting the whole way through, not just at the end, but it's at the end that I really push the lighting to what I've been mentally picturing the whole way.
|More blues, more clouds.|
One of the reasons I set a 3 hour deadline on my painting is actually stuff like this. There's always going to be something "wrong" with it, and if you don't cut yourself off and keep to a timeline ("Ok, running out of time, must move on now") I find I'll noodle something to death. The causes two problems: 1) it takes forever and 2) I usually end up hating the final product. Keeping things fast keeps me focused on the end result and prevents that crazy anal perfectionist I think every artist has inside of them from crippling me. Onwards!