Going for a stark simplistic look here, I had to fight with myself not to start adding details. A silhouette is how I envisioned it and that's how it stays.
Using the same color on the dark side of the buildings, the hero and the werewolf ties the painting together.
The sky seemed so much more intensely blue until I painted the buildings blue as well. That's because there was a slight orange tint to the base paint on the board. You'd hardly notice it by itself, you'd just say the board was white, but it contrasted surprisingly strong once there was a spot of blue on the page, which gave the illusion that the blue was very intense. Now that it's all blue the lack of contrast tones it down.
There's a middle stage in almost every painting where it just doesn't seem to be working and you start to think you've gone wrong and need to quit or start over. In fact many people do, which is a shame because if you persevere it usually pulls together again later. In this instance I knew I wanted some dust or fog on the ground which was easy to do in charcoal because it was all gray tone, but it was hard to settle on a good color balance here. Plus it had the effect of making my werewolf look really small and unimposing.
But now that I've added rim-lights, shadows and some blue reflected light the werewolf appears to grow in size and reach forward towards the viewer which brings back the drama that I thought I'd lost.
I was at a science fiction convention once listening to a panel by a bunch of authors. One of them had some sort of wolf doll or puppet which he tossed onto the table in front of him so the head was pretty much in this position., I sketched the head and then made up the rest of the body to match the disposition of the head. He looked like he'd been killed or possibly just knocked out so the story kind of flowed out from that unbidden.
I always wanted to do a painting of this one. I envision it very simple and stark like and old fashioned comic book or pulp magazine cover. This is an 18 inc by 24 inch charcoal drawing on newsprint copied from the original sketch which is very small.
Here's a piece of wood I found for my canvas. I always use recycled material for my canvasses. The other side is smooth so I painted it with regular house paint primer.
I rubbed charcoal on the back of the newsprint, laid it down on the board and went over the sketch with a ball point pen. This transfers the drawing to the board. Then I strengthened the drawing of the two figures with india ink. and started washing over the whole thing with a thin mix of gray brown oil paint.
Here's a little painting I did for a friend of mine. I intended it to be a good deal simpler so I laid it out a chipboard sheet that was the back of an old sketch pad. I've done acrylic paintings on these lots of times, but somewhere in the middle of this painting I switched to oils. I don't recommend it. it absorbs oddly and the varnish gave me fits, but it's all good now. This is one of the many hazards of doing things the way I do. I like to use recycled materials for my paintings which almost always works, but occasionally I wind up throwing something away after putting a lot of work into it. I paint on scrap lumber, doors, parts from broken furniture and cabinets. They all have different textures and densities so they absorb differently which changes the painting experience. But it's also fun, I kind of enjoy the randomness and I certainly enjoy not spending money on materials.
Here's the final painting unless I change my mind and do something else later. I wanted some bright red back in so I made the monster's ray gun red. It contrasts well with the colors behind it and reminds me of some old tin toys we used to have when we were kids. Oil on board 24.5 inches by 21 inches $200.00
That's about it I hope you enjoy these step by steps. Please feel free to ask me any questions here or in my e-mail.
I started to feel that there wasn't enough contrast so I made the vaporous mist red. This is the sign painter in me always thinking things need to Pop off of the background.
I like it...and I kind of don't.
I've also kind of lost my drawing of the agent's faces.
Ultimately I decide to go back to yellow on the fog. Then I strengthen the facial drawing with colored pencils. Colored pencils are waxy and acrylic paint won't stick to them very well, but oil paint will just melt right through them. In the final painting none of the pencil will show this just guides me where to put the paint next.