Thank you Jackie, especially for deciding not to completely follow the artist’s example. I’m so intimidated by books that have already completed images that I know I won’t be able to reproduce. Puts me off buying them. It’s refreshing to hear that it’s not necessary and we can make it our own. Wonderful job from you as always. 😊
I understand Sarah….I’m not really too interested in the books with side by side images either 😉 While I think it’s sometimes useful to get ideas, it can sometimes stifle creative thinking too. Most of my books aren’t based on original artworks so it’s fun to just dive in and do my own thing! Thanks for watching, Jackie
I have to confess, I had cheated and watched your completed pages video before this part two of Alice. But I needed to come watch this video so I could see how you got to the final results. Once again you have amazed and inspired me. I hope to be able to find a copy of this book.
The problem with greyscale is that shadows aren't grey. That's why the yellow and the skin bothers you so much. The eye sees it as "wrong". They are typically a combination of the color and kind a bluish purple (with a bit of reflected color from whatever is casting the shadow, so the "proper" shadow for yellow is a dull brown, the end result of combining yellow with purple. The yellow ochre contains brown and it's rather opaque for a watercolor, so it's making things "better" to the eye. Not much you can do about it when coloring greyscale. When underpainting warm objects on purpose you can use sepia instead.. but with it already printed on the page you are kind of stuck with what you've got with the exception of pulling in a more opaque media such as Prisma. Polys are transparent.
Wow... you never cease to amaze me (us) Jackie. Wonderful ideas you have here. You are such an inspiration. Thank you for your wonderful work!
Thank you so much! 😊
❤❤❤
Another fabulous Alice page! 🩵
🤗thanks Deb
Thank you Jackie, especially for deciding not to completely follow the artist’s example. I’m so intimidated by books that have already completed images that I know I won’t be able to reproduce. Puts me off buying them. It’s refreshing to hear that it’s not necessary and we can make it our own. Wonderful job from you as always. 😊
I understand Sarah….I’m not really too interested in the books with side by side images either 😉 While I think it’s sometimes useful to get ideas, it can sometimes stifle creative thinking too. Most of my books aren’t based on original artworks so it’s fun to just dive in and do my own thing! Thanks for watching, Jackie
your work is wonderful
i have this book hope to be brave enough to try
Go for it! I’m finding the grey scale challenging but the pictures end up looking pretty good 😊
I have to confess, I had cheated and watched your completed pages video before this part two of Alice. But I needed to come watch this video so I could see how you got to the final results. Once again you have amazed and inspired me. I hope to be able to find a copy of this book.
Thanks Karen ❤️ Even if you can’t find this book, the same ideas can be used in any greyscale books you have 😉 thanks for watching.
The problem with greyscale is that shadows aren't grey. That's why the yellow and the skin bothers you so much. The eye sees it as "wrong". They are typically a combination of the color and kind a bluish purple (with a bit of reflected color from whatever is casting the shadow, so the "proper" shadow for yellow is a dull brown, the end result of combining yellow with purple. The yellow ochre contains brown and it's rather opaque for a watercolor, so it's making things "better" to the eye. Not much you can do about it when coloring greyscale. When underpainting warm objects on purpose you can use sepia instead.. but with it already printed on the page you are kind of stuck with what you've got with the exception of pulling in a more opaque media such as Prisma. Polys are transparent.