Starting with a Surprising Choice
Of the three ideas I discussed in my last blog, I surprisingly began with the least developed one. Initially, I had a basic concept: a herd of elephants crashing through a building. However, I wanted to convey more than just their sheer strength. I envisioned the elephants calmly demolishing the structure, emphasizing their intelligence and quiet purpose in reclaiming their territory, rather than reacting emotionally.
Finding the Right Visuals
While searching through Lightroom for photographs to work on “Pollinators,” I realized I needed pictures of the hummingbird I wanted to include. But I did have the building I wanted to use for the elephant picture, so I started there.
The elephants posed another challenge. Though I had plenty of photos, I needed shots that depicted them coming at an angle toward the viewer, and most of my references were side views. Fortunately, the Cleveland Metroparks Zoo is only about 45 minutes away, so I decided to take a trip on Labor Day weekend (hopefully, it wouldn’t be too crowded!) to capture the right angles for my artwork.
From Zoo to Canvas
My day at the zoo began with the elephant enclosure just inside the front gates. Armed with the right photographs, I started creating the artwork on my 24” Huion pen tablet. Using the sketched composition I had previously drawn, I selected the elephants I wanted in the piece.
Since I planned to replace the background, I needed to separate the elephants from their original surroundings. This involved adding a layer mask to the photo and using a brush to paint out the background, allowing me to recover any parts if I made a mistake.
Photoshop has a quick masking feature that works well when there’s a clear contrast between the subject and the background. However, this is rarely the case with animals, whether in the wild or at the zoo, where efforts are made to replicate natural environments. I usually avoid using this feature because it often requires more time to correct mistakes than it saves.
The Intricacies of Masking
Masking is a time-consuming but crucial part of my creative process, especially when it involves additional elements like the building in this composition. For the background, I’ll use a previously painted watercolor abstract. I often pair hand-painted pieces with textures like bark, metal, or cracked concrete. Although the layering process obscures these elements, they prevent the image from appearing flat.
Steps to the Elephant Artwork
Here are the steps I’ve taken so far:
- Sketch out my idea.
- Gather the necessary photos for the composition.
- Mask the final choices.
- Create a Photoshop document for the composition.
I usually start with a 24×36” canvas at 360 ppi to ensure it can be resized without needing enlargement. The high resolution allows my artwork to be produced as a giclee. - Place the images in the composition prepared in Photoshop.
- Decide on the background:
- Paint the background on canvas or paper, photograph it, and store it in Lightroom for this or future compositions.
- Photograph textures and store them as I do with the paintings.
Storytelling Through Art
At this point, I have a basic idea of what the finished elephant painting will look like, but it’s still in its early stages. Now, I need to establish the story and meaning behind the piece, ensuring it aligns with the intent of the environmental series I’m working on.
This series is for YOU, my fellow animal and nature lovers—people who think about how they can help the environment, its animals, and the world we live in, even if it’s one small step at a time… one animal at a time… one person to encourage at a time. People with heart.
The Art of Refinement
Now comes the most involved part—adding everything else:
- Shadows and highlights.
- Additional images to support the perceived environment.
- Hand-painted details.
- Adjusting colors, etc.
This phase is the longest and most intense. It’s difficult to video the process because I spend days envisioning and revising the art. I often invest hours in one direction, only to change my mind and go another way. As the images develop, new ideas emerge, some of which stick, while others are discarded.
One of the great advantages of working digitally is the ability to develop compositions infinitely without destroying them. Layers can be hidden, grouped, or rearranged without any permanent changes. I can revisit something that didn’t seem right until another element was altered. I love the malleability of working digitally.
Another benefit is that different pictures can emerge from the effort, even if they have nothing to do with elephants. For example, I might create a background for one piece that doesn’t work, but save it for another artwork where it fits perfectly. You can see an example of that on my Custom Art Page.
Final Touches
I’ll continue to work on the composition until I feel it’s finished, then I’ll put it aside for a week or two. After that, I’ll revisit it, make any necessary adjustments, and add my signature when I’m confident it’s DONE.
So, if you’re curious, this is the painting so far. Keep in mind this is not nearly done.
I’ll still live with it for a week or two before calling it finished. My digital paintings take more time on the canvas than when I painted everything in oil. The difference? I don’t have to wait a week for each layer to dry, nor do I have to wait a year to apply a final varnish. But the biggest difference is that I don’t use solvents and turpentine, which causes me to have allergic reactions and environmental concerns.
Help Me Name This Artwork!
This elephant painting still needs a name. Any ideas?
I also need a name for the series. I initially called it “Man vs. Nature,” but I find it too negative. My other choices are:
- Hand of Man
- Human Nature
- 2nd Nature
- The Nature of Man
- Coexistence
I’m leaning towards “The Nature of Man” as the final title. What do you think? Do you have any other titles that should be considered? Tell me in the comments.
And don’t forget to help me name this artwork!
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