Orc Death Knight

This is a third card for the World of Warcraft TCG set, War of the Ancients. The title and image should be self-explanatory so I'll talk briefly about technique. As I've mentioned before, I sometimes find it useful to paint an image purely in value, in tones of gray, so that I can focus on light and shadow first without worrying about color. That's the approach I took with this one, going from sketch to black and white "underpainting" to full color. The entire piece was created in Adobe Photoshop and for those who need to know such things, the color was added gradually, on layers, using several different layer modes (primarily overlay, color, saturation and normal mode).

Tauren Timewalker

Here's another card painting (created in Adobe Photoshop) from the recently release War of the Ancients set for World of Warcraft. It depicts a Tauren warrior, guarding a location called The Caverns of Time. Like the previous post, it's another relatively warm painting with a bright, hot color in the background. That pink hue worked well as edge lighting for the Tauren character.

This was one of those illustrations that just flowed out almost effortlessly. Sometimes a painting can be a real struggle from start to finish, involving a lot of tweaking and re-painting. This one went smoothly from start to finish... a rare treat!

Cho'gall

It's been a while since I've had new work I could post so I apologize for the long delay between updates. I've been "in the weeds", working on new projects, none of which can be shared publicly yet. Eventually, that should mean I have plenty to share with you. Meanwhile, I'll do my best to get back on a weekly update schedule.

The handsome fellow above is an ogre named Cho'gall. He was painted (digitally) for the World of Warcraft trading card game. I love painting big, ugly characters like this guy. The lighting was a challenge but I think it works and I gave myself an extra challenge (to go with Cho'gall's extra head) by using red as the sky color. Warm colors like red tend to come forward and cool colors tend to be recede so it's fun to try making a warm red serve as a background color once in a while.

Swordwing

This illustration was created for Dungeon magazine #204 for an article about a creature called (you guessed it) a swordwing. The humanoid, insect-like swordwing collects trophies for it's nest but it tends to fixate on a particular type of trophy item, like skulls, books, swords, etc.

I wanted to nail down the lighting and structure in this picture before adding color so I did a full value study in gray and then gradually added color over that until the piece was completed. The color was added using various layer modes in Photoshop (color, overlay and soft light, to be specific). I actually think the piece is a bit moodier in black and white but I'm pleased with the color version as well.

Champion of Time Dragon

This is another painting for the World of Warcraft TCG set Battle of the Aspects. The "Champion of Time" dragon needed to be flying above and circling the tower in the lower left of the picture but he also needed to be the primary focus of the painting. I decided to use a heavily foreshortened pose to solve that problem and then set to work. You can see the initial sketch above. To give you some idea of the various stages a picture like this can go through, here's a step-by-step explanation of how the piece developed from there:

1.) I blocked in basic shapes and a few details. At this stage, I'm always trying to establish the color scheme and the base values rather than worrying too much about details (although the tower is already pretty far along).

2.) Having worked out the color scheme and the basics of the lighting, I plunged ahead with the details. Working on a  separate layer in Photoshop, I created the scale pattern on the dragon and added further details elsewhere. 

3.) The horns and wings were developed further, as were elements of the background.

4.) The neck looked too pinched and elements of the wings didn't match the Warcraft reference material so those areas were re-worked. I also moved the tail so it didn't overlap the top of the tower (something that should have been done from the start).

5.) I was going for a color scheme unified by the green-yellow light you see diffused throughout the image but the art director thought more contrast (in both value and color) would read better at print size. He was right so I adjusted the image in Photoshop using Levels. I simply set a white point in the bright area of sky at the very top of the picture. That shifted the colors significantly, a little too much for my tastes. I took that adjusted image and placed it on a layer over the original then changed the opacity of the new image to preserve a bit of that unifying green-yellow light I mentioned earlier. That yielded the final art.

6.) This is the what the image looked like after the aforementioned levels adjustment but before I placed it on a transparent layer over the original artwork.

If you read all of the above… thanks for your time and attention!

Goblin Priestess

This green-skinned cutie is from the latest World of Warcraft TCG release, Battle of the Aspects. She may also be my personal favorite of the WOW TCG illustrations I've created. I did a similar piece of a gnome priestess that you can find elsewhere on this blog under the name Holy Blaze. I was very happy that painting but I feel the gesture, facial expression, color scheme, etc. all came together better in this one.

I've included the preliminary drawing as well. Note the number of fingers on the goblin's hands. Warcraft goblins have a thumb and three fingers, not four so that had to be changed in the painting.

Ghost Kraken

The actual title of this piece is Grasp of Thalarkis and it was painted as the cover to Dungeon #203 (to illustrate an article with the same name as the picture). I'll let you figure out who Thalarkis but I don't think that will be difficult.

I've always wanted to do a cover to either Dungeon or Dragon magazine. The magazines are e-zines now but a cover is still a unique challenge, a chance to stretch out, work in a vertical format and (sometimes) do a more complex picture. However, when I received the art description for this one, I knew I was looking at a real challenge. I was to illustrate a wizard with a glowing wand and a frightened expression his face being dragged down toward a shipwreck by a Kraken. Okay, that sounded cool but difficult but throw in that the kraken is a ghost and it became truly difficult. I made it even more difficult by forgetting that little fact as I was composing the picture and visualizing the color scheme.

One of the difficulties in painting an underwater scene is that it can easily become too monochromatic. The Kraken in the Dungeons & Dragons world is a yellow-green color and after composing this piece, I forgot that the Kraken was supposed to be ghostly so as I was visualizing the color scheme, I was thinking I'd have that yellow to keep the image from becoming too monochromatic. I was also conveniently forgetting that the kraken would actually have to be at least partially transparent (since it was a ghost).

When working digitally, I usually jump right in and paint in color but the requirements of this piece led me to work it out in black and white first. I started by roughing in the values and beginning to refine shapes in gray, eventually working up a complete value study so that I could make sure the picture read well. From there, I gradually added color, slowly building it up on layers in Photoshop until the picture was completed. I rarely work this way on the computer (although I almost always do a value study first when working in acrylic) but it definitely has it's benefits and I've used the approach a few times since. It's nice to solve problems in gray before applying color although I find it less instinctive and more difficult to build color using this method. In the end, it's another useful 'tool" to have in the tool belt.

I was happy with the way the picture turned out and so were the kind folks at Wizards of the Coast so I hope you like it too. In addition to the final painting, I've attached my initial rough, the preliminary drawing, the first gray study and the final gray value painting.