Here is the result:
This is a breakdown of how it all went and how each layer was placed in. It was really a challenge keeping everything in order and in the right place.
...and here is the final booklet.
December 12, 2011
Talon of Umberlee
Recently I created a cover/ad materials for D&D's organized play release called Lair Assault: Talon of Umberlee. Unlike any other project I have worked on, I was tasked with creating an image that would be used not only for the print materials, but also for any other needed advertisement for the release. This meant, all the element in the image needed to be movable so that marketing could place items where they needed for various banners and things of that like. So, I had to paint everything on separate layers. I have never done anything like this before so I was some what at a loss on how to even approach it. I normally paint flat in Photoshop and Corel. I decided I would do an overall sketch of all the elements together as a composed image and then break them down and paint them out separately. It certainly took a lot of time but it was really fun. I worked with AD Kate Irwin on this one. Always a pleasure.
Here is the result:
...and here is the final booklet.
Here is the result:
...and here is the final booklet.
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HOLY CRAP. Epic post is epic. I love this piece, man. I really do. So awesome seeing the layers posted individually watching it build up. I was just thinking today how I was hoping a new post would happen on here, and Tyler to the rescue. Sick piece, dude.
ReplyDeletePretty interesting process - is this becoming commonplace for publishing? It's cool to see clever uses of digital painting. I do worry a bit it's putting a thumb on the scale in favor of the client. More value for the same commission. Or is that an assumption on my part - maybe they bump the rates for this great service?
ReplyDeleteInsanity! Very cool post, it's really interesting to watch it come together piece by piece. That's one thing I am willing to admit is out of the realm of oils :)
ReplyDeleteIncredible work man. Usually it's easy to tell when an image is painted on lots of layers, but your final composite looks like oil on board. The seamless integration is mind blowing.
ReplyDeleteSweet!! I love that atmospheric warm light. Insane job, and you really did great not freezing up and making a static image with those constraints.
ReplyDeleteGORGEOUS! LOVE LOVE LOVE the tentacle horror in the water. So cool! :D
ReplyDeleteThis is really amazing. It's nice to see someone else use more than one layer :) I always feel like maybe I'm wasting time doing it that way, but it's saved me on edit time in the end more than once.
ReplyDeleteDoing a cover for Paizo this week and I've had this up on my reference screen as inspiration since you posted it.
Thanks everyone. I am glad you like it.
ReplyDeleteMarctaro, In my experience, this is very out of the ordinary. I have only done one job like this. I am working on another right now that requires some layers but nothing near that many. It was a standard commission for a cover.
Craig, It was certainly a challenge making the layers not be so obvious or look totally cut out.
Adam, thanks man. I don't normally paint in layers. I usually paint pretty flat.
Yeah Chris, When they described the job to me, I knew from the start there was now way I could paint this out on a board and pull off what they needed. I mean I guess I could have but it would have been a huge pain to cut everything out separately and fill in the backgrounds.
ReplyDeleteVery cool. Awesome to see how you broke it down.
ReplyDeleteWell, like everyone's saying - great work making them all blend. sure is hard not to look cutout. I hope it's not something they start asking for :) Just another technical constraint ! *wanders off making grumpy old man sounds....
ReplyDeleteWicked tentacle goodness, Tyler !!
ReplyDeleteVery nice sense of color as it changes and desaturates back through the tackle.!! Love all your seascapes, man.. =)
wow, great piece, and thanks for taking us along on the process. it's funny-- this job would have been a cinch for me (actually, no, i think i would have made a mess of the complex scene of the image itself. but the layering part would have been no problem). i work like that already-- my paintings are bazillions of layers. i don't always paint *everything* on a separate layer, but i often paint just about every discrete thing on a separate layer. and frequently individual items-- sword layer, helmet layer, effects layers. that way i can change my mind endlessly. and switch between layers to see what sword variant or color tweak i like better.
ReplyDeleteanyway, great piece! the challenge was a complete success.