Mobile Digital Artist Personified
I start with a rough sketch and composition, with a small mid-opacity black brush. It’s important to keep things simple at first to see the painting as a whole.
I only get into details once I’m satisfied with the composition.
Now the hardest part: color blocking. The farther away things are, the more desaturated I paint them. Complementary colors with a bit of blue are used for shadows and very saturated colors for lit areas. You must already be able to feel the depth, the light, and the atmosphere at the end of it.
Once my colors are roughed in, I develop different areas of the composition, remembering, most importantly, where my light source is—in this case, the fire in the belly of Granny Gore.
Finally, polishing. From the background to the foreground I overpaint each bush, each creature, mostly with a mid-opacity fourth brush, always sticking to my color keys.