- #Fantasy landscape drawing how to
- #Fantasy landscape drawing pro
- #Fantasy landscape drawing series
Working quickly, roughly and small is a good way to test out ideas.
#Fantasy landscape drawing series
I also used several photos of Egypt, including an image of the Mausoleum of Aga Khan.Ģ DEVELOP A DESIGN The basic design for the painting was worked out in my sketchbook via a series of thumbnails. The palace architecture was based on a postcard of a mosque in Cairo that I redrew more in the style of a central Asian building and painted as if it was white stone, like the Taj Mahal, so it would glow in the moonlight. CANVAS Winsor & Newton Artists’ Canvas, 50x50cmġ COLLECT REFERENCES Here you can see some of the references I chose.
#Fantasy landscape drawing pro
BRUSHES Omega 70 Astuccino bristle, size 24 Purdy XL Sprig Elite, 2” Winsor & Newton flat, size 8 Pro Arte Acrylix Series 202 rounds, sizes 1 and 6 ProArte Acrylix Series 204 flats, sizes 1/8”, 1/4” and 1/2” Daler-Rowney Bristlewhite Series B48 long flats, size 1. OILS Lead Tin Yellow Lemon, Permanent Orange, Emerald Green, Phthalocyanine Turquoise, Phthalocyanine Blue, Phthalocyanine Green, Naples Yellow, Burnt Sienna and Prussian Blue, all Michael Harding Artists’ Oil Colours Zinc White, Titanium White, Winsor Green (Phthalo), Manganese Blue Hue and Winsor Violet, all Winsor & Newton oil paint. In short, it is a Western imagining of Eastern subject matter, the mosque-like architecture acting as a substitute for a palace in the Romantic tradition of The Arabian Nights. I wanted a magical atmosphere with the palace and landscape illuminated by the moon, even though the moon itself can only be seen in the river’s reflection.ĭespite being based on particular references, there is nowhere in the world that actually looks like this, the architecture being an amalgam of Egyptian, Central Asian and Moghul influences with something of a Hollywood feel. The lighting and setting came from my imagination, but the palace and village were based on old Victorian-era postcard of the Middle East and some photos I had taken in Egypt. Choosing a limited palette is a good strategy for creating paintings that are rich in colour yet never gaudy. In other words, the palette is entirely based around two complementary colours: greenish blues and reddish oranges. I chose to keep the painting to a single complementary colour axis. Is she fleeing from an evil tyrant or running a secret errand? The viewer can decide. The Bash Kadin was the first wife of the Sultan and I have implied some narrative to the picture by having her on a boat leaving the palace on a moonlit night. Even my painting’s title – The Departure of the Bash Kadin – was meant to be typical of that period. I settled on a moonlit scene in the tradition of the Orientalist painters of the Victorian age, taking a little inspiration from Edmund Dulac and Maxfield Parrish’s illustrations for The Arabian Nights from 19 respectively. I wanted to paint something evocative and mysterious that I could base on a simple colour combination. #Fantasy landscape drawing how to
Link copied to clipboard Mark Harrison shows you how to create an imaginary landscape scene in a dozen simple steps
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