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PAINTING·WHITE DWARF 314

Let There Be Light

February 2006·p. 116

THE SHORT VERSION

Victoria explains how looking at painted light in two-dimensional art suggested her treatment of Sister Joan’s rescue. A dark underlying model gives the illumination room to stand out, and the flame must remain the brightest point. Straight paths from the source determine which surfaces receive red, orange and yellow drybrushing. Blending and layering can refine the result, but experimentation and believable direction matter more than a fixed recipe of named paints.

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Find this article in White Dwarf 314, p. 116.

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