Over the last decade I have been thinking about my own world, but never took a longer time period to work on it seriously. That time has come now. Prepare to enter a world filled with mysteries. Genius Loci is a setting spanning an entire planet. From the endless forests of the contintent Gdera to Sawa's volcanic wastelands to the vast deserts of Lozir, mysteries from ages past lay scattered in lands that have not been traveled since the ancient times. Places of magical puzzles are populated by spirits of nature or those of the dead; ghostly figures roam their former homes, while the most powerful spirits' domains cannot be entered without protection. The mages and wizards, while hunting the same goal, will wage war on each other at even a slight provocation. It is a place where strange customs await the traveler. Never be too sure what to expect around the corner. Some of the races and landscapes of Genius Loci will be familiar, while others are entirely new. I have a lo...
The Smaugust challenge asks to draw one dragon per day during August. I've long wanted to participate - for some reason, despite being mainly a fantasy painter, I have almost zero dragons in my body of work - but with Inktober coming up the following month I was usually busy doing things for that. When AI became a huge thing last year I fiddled with it for a bit and created my Smaugust pieces by overpainting AI renders from different models. I am interested to see where the law debate about AI in general and generative image creation in particular leads. There are GIFs for many of them to show what I used and how, but I think many are outdated already; if not detailing technicalities about the models, I'll make another post with the process GIFs. The high seas wyrm The protector Snapdragon Red rising Desert swimmer Fire of creation Master of the fiery serpents Stranded Westward Into the fire Dragonriders Primordial Roadtrip with Mom First fire On a pile of gold Curled A god com...
After masking the blossoms, I start with a wash of green on the bottom that I flick pure water into for texture. While adding cerulean blue to the cherry dryad, I do the same here and add burnt umber and ultramarine blue, dabbing one brush in all paints and making irregular strokes and spatters, adding many but harmonious colours. I like adding paint like this in early stages since it adds both pure colour and blended strokes. I keep the browns to the lower and blues to the upper and outer part. Onto a thin wash of mostly raw and burnt umber, I add cling film from the kitchen to dry with texture, which creates a kind of branch-y texture I like a lot. I do more layers with this technique. In the end I think I should've stopped before the last layer which is fairly dark, but you never know this going on so I let it sit. I work on the face with mixtures of the previous colours, and start emphasising some twig structures and bark on...
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