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Painting Process: The Making of "Omens" [HD Video]

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Yesterday I posted this painting. Today I want to show you how I made it.



Why make a video?

The answers because I could, and for fun bubble up to the surface, but of course there's more to it than that. For one, it was an educational process for me. To be able to go back and review high definition video gave me a rare glimpse at both the good and bad habits I've cultivated over the years. It was worthwhile in critiquing what I need to keep doing or change to make better paintings in the future.

Most of all, I wanted an opportunity to invite a wide audience into my studio to see how I make paintings, so they could appreciate not only the finished original, but the whole process. If you're a professional or serious student looking for an instructional video about oil painting, this is not that video. There are plenty of others out there that do a more in-depth job, like Dan Dos Santos's "Warbreaker" video, and Donato Giancola's "The Mechanic" and "Joan of Arc" videos. Theirs certainly inspired me to film myself, but where theirs go into extreme detail, mine is an easily-digestible ten minute overview. My hope is that it's accessible and fun to watch for artists and non-artists alike.

Is the technique demonstrated the best one for everyone to use?

It's one road of many you can travel to make a painting, and it just happens to be the way I'm currently making paintings after several years of instruction and experimentation. It's important to remember, though, that even when you've found methods that work for you, it's still a good idea to try new things and challenge your idea of what's conventional often.

If you have any questions about the video, please feel free to leave a comment. I hope you enjoy it!

Return to Ravnica: New Magic cards!

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Magic card spoiler time! Here's the first two cards I illustrated for the new sets, beginning with Return to Ravnica. First, a reprint of "Cremate" with new art:





Beware the swirly Orzhov Priest fire magic! Rraaaarrr!

And second, we have the Tavern Swindler- an uncommon card that involves a high-stakes game of chance.




If I had this one to do over, I would change the costume. The art order called for an unguilded female with cloak and gloves, but looking back I think I made her a little too standard-spooky and not quite Magic-y enough. Hey, I still dig the dripping candle wax. Overall, that's one of the downsides about having to wait a year before showing off these card illustrations- sometimes a year is long enough to second-guess your original choices. Hopefully it won't diminish the fun of using the card in play. Was it heads or tails?

"Sherlock" Pencil Studies

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(Pencil studies of actor Benedict Cumberbatch in his role as Sherlock Holmes, from video stills.)

This is post 1 of 2 that I want to make about Sherlock Holmes.

First off, I want to say that I've become extremely enamored with the BBC TV series Sherlock. I didn't think that any moving picture re-imagining could beat out Basil Rathbone's portrayal in the black and white 1940s films, but here we are, and I stand humbly corrected.

Not only is Sherlock a beautifully crafted and enjoyable show to watch, it's also brought a brilliant actor into the American spotlight, and to my attention (or more importantly the attention of my pencil). I could study his face and its myriad expressions all day.

There's a lot to learn from sketching actors, even from photographs, but it's wonderful that nowadays HD video is so widely available, too. Where photos are often posed, a paused video frame gives you the opportunity to capture a more naturally expressive moment on a character's face. Every observation and pencil mark from this kind of practice gets stored deep in our memory, and we access it later while making new drawings, without thinking of it consciously.

Please enjoy these practice sketches, and my small tribute to a new favorite TV series. Now go scour YouTube for your favorite actor or actress, and find a nice place to pause and sketch.

Sketch Night at the Society of Illustrators, NYC

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Figure studies, 10/16/2012

If you're in NYC, you truly owe it to yourself to go to a Sketch Night at the Society of Illustrators. $15 gets you a 3 hour sketch session with talented models, really good live music, and a great atmosphere. Food, alcohol, and art supplies are also on sale. Sadly, I got on a train and left NYC only hours after the event concluded, but I'm certain I'll visit again soon...

New York Comic Con!

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Last week I had my first Comic Con experience!


I shared a table at New York Comic Con with my good friends Noah Bradley (left) and Marc Scheff (top) from Awesome Horse Studios. Photo courtesy of Irene Gallo.

I was going to write out a huge list of tips like I usually do, but our friend and left-hand booth neighbor Kiri Ø. Leonard beat me to it! And she did a great recap, with good advice for first-time exhibitors. Read about her 10 Things She Learned at NYCC.

Instead, I'm going to sum up the 4 day art extravaganza and share some personal experiences through the majesty of captioned photographs.


Every convention starts weeks or months in advance with good decent planning.
We discussed what we were going to bring and drew up a little table plan before the con... of course, we thought the tables were going to be 2 feet wider than they actually were, so our setup ended up being quite different.


Wednesday Night: I measure some foam core board in Marc's studio while Tim Paul makes custom wallets.
After arriving in NYC, we got straight to work making tiered foam board stands for our prints. Thanks for the idea, Tim!


Thursday Morning: We arrived at Javits Center, along with Marc's assistant Alex, and set up our display.


All done with setup! Posing at our table just before the doors opened on Thursday.
Sharing a 6-foot table among three people meant we needed to maximize our vertical space. We were guilty of a bit of "visual vomit" (too much disorganized clutter), but since we were treating the Con as a fun learning experience, we rolled with it.


Me and Noah looking suave and/or cheeky...


Sushi dinner with artist Kiri Ø. Leonard and art director Lauren Panepinto
Work hard, play hard. Just like any convention, evenings are for hanging out with friends and colleagues. Not pictured here: the alcohol.


Friday Morning: I pose next to Marc's banner with Kiri. The banners, much like the rest of our setup, were fastened together with duct tape and wishes.
I decided Friday was going to be dress-up day. Coincidentally I also had my best sales day... ha! Anyway, things got so hectic starting right after this photo was taken that we barely have any photo record of the next 48 hours. To paint a very small picture: Javits Center was PACKED wall-to-wall with attendees for the remainder of the con. The recorded numbers topped 116,000 for the whole weekend. WOW.


Saturday Afternoon: Posing with Dan Warren (center) and Dave Rapoza (far right) from Crimson Daggers.


Sunday, at last! And coffee. Delicious, delicious coffee.

All told, we had lots of fun and did well with sales. I'm really looking forward to the possibility of doing NYCC again next year!

Voting for the "Illie" Awards ends tonight!

Gearing Up for IlluXCon 2012

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It's less than two weeks away now... the fifth annual IlluXCon! Are you as excited as I am?

This year is a bit different for me, and I'll explain why. Unlike 2010 and 2011, I will not have a table in the main show. There are very good reasons for this, the main one being that I didn't try out for the main show. "Wait... what??" Yes, you heard me: I didn't try out. In late 2011, when IlluXCon announced they were officially going traditional-only, and everyone had to be juried into the show, I had to get honest with myself about my work. I've been a working illustrator for a few years now, but primarily a working digital illustrator. When I did a hard comparison between my digital and traditional work, I saw a big enough disparity in the quality that it bothered me, and I thought it would be best to spend part of my first year as a full-time freelancer working toward getting back into shape with oils.

Instead of trying out for the main show, I set a goal for myself to make 5 oil paintings to present at the IlluXCon Showcase, which is the one-night-only art extravaganza held at the Ramada hotel. Not just paintings for the sake of painting, but paintings I would be proud to put my name on and show off as a sample of my latest work.

I think I met that goal.

A couple weeks ago when I started planning my table display, I made a second big decision that will set 2012 apart- I'm only bringing traditional work. Digital artwork isn't necessarily verboten in the Showcase, but it's not part of Pat and Jeannie's vision, and it's unfair to collectors who want to buy originals to get them interested in what they don't want. Also, for the first time, I don't need to show it to feel good about my work. If I had had enough original oils the last two years, I'd have done this sooner, but I just didn't. In less than two weeks, you won't even see a print or postcard of a digital piece at my table. **SPOILER ALERT** Here's what that might look like:


I'll have 5 original oils, 3 of which are still for sale, as listed below:
Blue Flame, 2012, 16x22 in. | $1,200
Rush of Blood, 2012 | Sold
Tarzan: The Light of Knowledge, 2012 | Sold
Omens, 2012, 22x30 in. w custom frame | $3,200
Phial of Galadriel, 2012, 11x14 in. | $600


On the table I'll have a binder of original drawings, including richly-detailed preliminary drawings for four of the oil paintings listed above, priced between $150 and $300.


The binder will also have large giclée prints of some traditional work; if you can't pick one up at the Showcase, they can also be ordered online from my inprnt.com store for the same price.

Something new that I'll be trying out is playing my Making of Omens painting video at my table (sans audio, so my table-neighbors don't go insane from hearing the same 10 minutes of sound on loop). For people who want to watch it after the showcase, I'll have little cards to take that have a QR Code on the back, that will link you directly to the video:



Lastly, I'll have the usual takeaways, in the form of business cards and postcards, all bearing images of traditional paintings from 2012.

None of this is to say that I'll be abandoning digital art- no, siree. I still plan to work both ways, but I'm hoping to continue focusing more on honing my traditional skills throughout next year. I'm really hoping that I might have a shot at the main show again when IlluXCon moves to Allentown- that is a great motivator.

Lastly, since I'll only be behind a table for one night, I'll get to go to some lectures and hang out this year! :) Looking forward to seeing you all very soon! Now, get back to work.

Interview with StarCityGames [Video]

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November. Was. INSANE.

I'm still catching up on email and work after that crazy brutal month, recovering from IlluXCon, hosting Thanksgiving, trucking across state lines to deliver a painting, and (probably most of all) devoting a lot of time to caring for my physically disabled mum-in-law while she visited from her assisted living home in NC.

Continuing the nutty trend, December kicked off with a bang, with a guest appearance at the StarCityGames Open Series: Baltimore. The SCG fellas were nice enough to tape an interview with me on Sunday. As a side note, this is the first time I can recall that I don't utterly hate the sound of my recorded voice; I attribute the random husky smoothness to exhaustion, so maybe I should avoid sleeping before I go on air from now on. Anyway, check it out:



Bonus! They did a similar interview with Noah Bradley, which was taped right before mine.

Take-Home Commissions & Happy Holidays

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Convention season (for me) is officially OVER until March 2013. Allow me a sigh of relief:

---Ahhhhhhhhhh---

Don't get me wrong, I love going to conventions and working tables. Love it. But it does wear me out, especially when there's travel and/or long hours involved. I'm ready to hibernate for the winter, but that doesn't mean things have slowed down in my studio. I need the help of my toes to count the assignments I had to finish before mid-December, and there's still a heavy handful of projects I'm working on through the holidays (one final is even due Xmas Eve). This has left very little time for blogging, or having an online social life at all, but I thought I'd take a quick break and show off a couple of the small commissions for Magic card alterations I had to take home with me from the StarCityGames Open Series earlier this month, because I think they're neat:

At the risk of getting flooded with requests for these, I've been dabbling in acrylic border extensions...


I've also bought an unprecedented number of extra-fine Sharpie markers for jobs like these... how am I just finding out that Sharpie released a limited edition 80's Glam color pack?!?! I had a set of crayola pens of the same color variety in the actual 80's. Memory lane, I am walking down you.

I expect I'll be pretty quiet for the rest of 2012, but I do want to share one more piece of good news... I just found out yesterday that a jury found me fit to show my work at the IlluXCon 6 Weekend Salon -the first of its kind- in Allentown, PA September, 2013. More news on that closer to the time, but I'm very happy to be accepted, and it will be a great motivator to keep oil painting with gusto.

I hope everyone has a cheerful holiday and best wishes as 2012 comes to a close!
-Cynthia

The Month of Love: 20 Illustrators, 20 Sketches Every Day in February

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Awesome lettering design by Jeanine Henderson

The concept is simple: 20 illustrators create one sketch every day for the month of February, with the overarching theme of LOVE. I'm so excited to be a part of this amazing team of artists, and to see what kind of awesome work is generated here.

Visit the Month of Love Blog: http://monthoflove.blogspot.com/

Meet the Artists:
For me, free-form sketching like this is a great way to generate ideas for future paintings. In fact, the very first seed for my painting Omens started as a red pencil sketch on the back of a Magic Card proof (trivia!). And this challenge couldn't have come at a better time— I've been "cocooning" lately. That is, I've been holed up in my studio trying to find a new direction to take my personal work. Imagine the grumpy old writer repeatedly wadding up paper from his typewriter and throwing them in the garbage... soon enough I will emerge, changed.

Painting Daenerys: A Time-Lapse Digital Painting Study

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So there I was, labeling some spice jars and looking up recipes for a Game of Thrones S3 premiere-themed dinner, when I decided that it would be fun to make some sort of art to put on an invitation for my friends. For fun.

Several hours later, this happened:


Youtube link if you want it in HD: http://youtu.be/sz9bXePMWbQ

What's cool about accidentally making a fan art digital painting demo is a lot of people have asked about fan art lately. Some students wanted to know if it's a worthwhile practice for learning painting skills.

I'd say yes- if you're talking about photo-referenced fan art studies, it's about as useful as any other photo study for learning how to mimic visual images with your digital brush. Try to approach photo studies in a way that helps you get the most out of them. For example (as shown in the video demo):
  • Paint by sight instead of tracing or painting on top of a photo. You get a different learning experience when you make the extra effort to measure proportions by eye.
  • Pick your own colors instead of sampling from the photo. Same principle.
  • And for an even deeper practice, don't faithfully recreate a single photo pixel for pixel- reference two or three images of the same subject if that's available to you. Many portrait artists do this to give their paintings a more lifelike feel.



Digital Study of Daenerys Targaryen

*This Weekend!* StarCityGames Open Series DC

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I'll be a special guest at the StarCityGames Open Series DC this weekend, March 16-17th. Come say hi! I'll be sketching things and signing cards, and will have a few prints and playmats for sale, too.

"A Saga In The Stars" at Gallery Nucleus, Opens Tonight!

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"A long time ago, in a gallery far, far away..."

I'm so excited to be participating in A Saga in the Stars: A Tribute Event to a Galaxy Far, Far Away, with a new painting:


"Undoing"
11x14 inches
oil on illustration board



All framed up in the studio

"...I considered painting a scene much like the end of the final battle in 'Return of the Jedi,' where Luke embraces his father as the dark side of the Force leaves him. In the end, I stripped that concept down to what I felt was its most important element- Darth Vader's severed hand and his light saber, flickering with its final glow, portraying the moment Darth Vader ceases to exist, and Anakin Skywalker is reborn."

If you're in Los Angeles, definitely go check out the show. My paintng will be displayed among the work of many talented artists (see the list below). The painting will also be available for sale on the Gallery Nucleus website after the show officially opens. UPDATE: The painting has been sold! Huzzah!

Shogun Rising, a Graphic Novel

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Do you enjoy stories about Samurai warriors? Forbidden love? ...Zombies?

If you answered yes to any of the above, you should watch this short video:


"Shogun Rising is an original story and full 48 page color illustrated graphic novel about love, samurai, and zombies. Near-future Tokyo is zombie apocalypse ground zero. Survivors are forced to flee to a remote samurai village. Hiroshi, a samurai prodigy, and Mizuki, the daughter of a ruthless Tokyo crime-boss, attempt to navigate the new world and their forbidden love. Tensions arise as cultures clash and the chances of survival diminish. And yes, samurais will totally fight zombies. But who will win?"

The Awesome Horse Studios team, (Marc Scheff, Aaron Miller, Noah Bradley, and I) did all of the concept artwork for the upcoming graphic novel Shogun Rising. We're currently using Kickstarter to fund the project. Go here to find out how you can help make this happen!

Death to the Old, Long Live the New

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Have you ever wanted to burn all of your paintings? You'd think that would be an upsetting feeling, but sometimes it's the best thing, because it means you've outgrown your old work.


"Long Since Perished" adapted from a piece for ImagineFX. 2012-2013, Digital.

Allow me to speak from my heart for a minute: I outgrew my work a long time ago.

After starting the full-time illustration career, I lost sight of where I wanted to go next, so I just drifted on, and tried some things that worked and others that didn't work as well as I planned. Even "successful" pieces from last year like Omens were a stab in the direction I want to go, but fell just short of the mark. Then last week everything changed. I finally completed a piece that (I feel) is more worthy of my signature than anything that came before it, and is a clear starting point for the look and feel of my next body of work. I can't show off that particular piece for at least a year, because it's under nondisclosure, but waiting to release it gives me time to settle into a cocoon and undergo a period of intense growth and change.

I need to use the time to meditate on what my future career looks like, too. I want to continue working in games, and pursue more books after re-tooling my portfolio, but I might wait to pursue gallery work for a few years. Some might be upset by this, but after trying for a couple years to make it work, I'm putting oil painting on the back burner. I still plan to use traditional media, but probably more in the form of graphite and charcoal drawings. I think I jumped into oils prematurely, naively thinking I'd be able to put in the same level of quality as my digital work, but I need more training and practice in the medium itself before continuing down that road professionally. My sincerest apologies to original art collectors who expected more oils- it's not you, it's me.

As for burning my body of work so far, obviously that's not a real option (unless I build an Archimedes death ray like James Gurney). Growth is about building on the past, so while a lot of work will have to be retired, it won't be forgotten.

I'm so excited. Time to shut up and go draw.

New digital painting, "Unfinished Melody"

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I want to share with you my new digital painting, Unfinished Melody:



A girl, despite being injured and surrounded by death, is captivated by a melody in her head, and attempts to rise up so that she can finish playing it.

It’s simultaneously a narrative painting and a dramatic metaphor for the current state of my artistic career, as well as a minor nod toward my 2009 painting, Half Her Heart’s Duet, created during a time at which I also wanted to (figuratively) burn all my paintings and start over.

Unfinished Melody toys with various themes: obsession, vulnerability, strength through adversity, and creativity. Music and musical instruments represent creativity/creation in both this painting and the earlier Half Her Heart’s Duet, and the small, half-shadowed stringed instrument in this piece intentionally resembles the shape of the guards’ shields, suggesting that creativity is a form of protection. While painting, I thought of each arrow as a bad idea, or a piece of shoddy career advice I received somewhere over the last four years. Some of them were deflected, and some stuck. The broken one that's stuck in her (my) leg is the notion that just good enough is fine. It's not. Just good enough will kill you, slowly. Her intent to rise up mirrors my intention to bring my whole self back to my art, despite so much advice to the contrary.

The specific imagery I chose also (I think) relates to various bits of media I consumed during and just before creating this piece. For example, HBO's Game of Thrones had just aired its infamous Rains of Castamere (Red Wedding) episode a week prior, so [SPOILER] the idea of mass slaughter was fresh on my mind.[/SPOILER]

There’s also a tiny part in one of my all-time favorite TV shows, BBC’s Sherlock, where Moriarty is telling the famous tale of Bach hearing his son playing one of his songs at the piano and stopping before it was finished, so the dying composer got out of bed and finished it. That's where the title came from. I thought the idea of being 'unable to cope with an unfinished melody' was a perfect way to describe this painting and what it stands for to me personally as the obsessed artist.

In my next post, I'll talk a little bit about how it was made.

The Making of "Unfinished Melody", and videos for Noah's Art Camp

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Yesterday, I posted about my new digital painting, Unfinished Melody.

Apart from being a deeply personal piece of artwork, I screen-captured most of the process to create some digital painting tutorial videos for my colleague Noah Bradley's 12-week online summer course, Noah's Art Camp.

You would need to sign up for the camp to gain access to the full one-hour tutorial videos, but to give you a brief overview, I made four videos, each covering one of the following topics:
  • I. Painting the Female Figure
  • II. Painting the Female Face
  • III. Painting Hands
  • IV. Painting Fabric

Apart from lots of process footage from Unfinished Melody, there are shorter mini-demos, live segments, and slide shows in each video, covering a variety of more specific related topics from basics like gesture drawing, to more advanced stuff like how to properly shade a young woman's smile lines.


In this video still from "Painting Fabric," I'm ranting about explaining the benefits of keeping fabric samples in your studio to use as live reference.


The origin was a humble sketchbook thumbnail, which evolved into a sketch from imagination, then a sketch using reference, and so on, all of which is documented in "Painting the Female Figure."



Noah's Art Camp also has weekly assignments with instructional video demos by Noah himself, and other artists like me have contributed tutorials and footage of their work. Go check it out to learn more.

Updates to Print Store, Website, & Blog

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Normally I take care of website/blog changes at the beginning of every year, but this time I'm late. Or early, depending on how you look at it, I guess.

First of all, I'd like to point out that I've made some updates to my Print Store, with the latest painting and some other goodies:



Here on the blog, I just spent some time going through every one of my posts and re-labeling them, so that now you can view the posts by their categories (see the "Entries by Category" list on the right). If you're just looking for career talk, tutorials, or videos, etc., hopefully you can find it more easily.

Website updates are coming, too. For the first time since its launch I've kept the same website design for over a year- almost two now. But that's about to change, in favor of a clean layout. My portfolio's going to be light for a while (both in content and background color), while it goes through a major transition. I've just got too much new work coming out next year that doesn't fit with anything I've done before it, so I'm making an entirely new portfolio for 2014. Meanwhile, older work and other archived stuff will be available here on the blog.



That's a small preview of what the transitional site update is going to look like. You can already see how much less saturated the body of work is becoming. I hadn't realized how freakishly saturated my body of work was before, and I've made a conscious decision to stop assaulting peoples' eyes with color. Apologies if you really like my highly-saturated work... I'm going through a phase where I hate it.

I'm sticking with the large thumbnail layout for now because it's been working fine, omitting some useless and broken crap, and re-instating an "About" section that will hopefully answer some FAQs about me and my art.

And now that my blog is (finally) organized, I can even point out that there's a label for website updates like this one! Check out the "Art Career Talk: Portfolio link to see the evolution of my portfolio website from 2006 onward. Spoiler alert: the thumbnails keep getting bigger.

Signing at Fairfax Comics & Gaming this Saturday

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I'll be signing cards and will have a small selection of prints available this coming Saturday, July 13th, at the Magic: The Gathering M14 Prerelease, hosted by Fairfax Comics & Gaming! I'll be there during the day, beginning at 11:00 AM.

Visit www.cgoffx.com and check their event calendar for full details. Hope to see you there!

First "Unfinished Melody" Process Video is Now Available!

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Noah's Art Camp, Part 1: Painting the Female Figure w/Cynthia Sheppard. HD and Closed Captioned video.

Noah was nice enough to release the first hour of my Noah's Art Camp video series to the public! Now everyone can hear me sound like a total dork. ;)

I've received some good critique on it so far (and I almost can't wait to make the next video so that I can employ some of that critique), but I hope it's an enjoyable and useful insight into the process of making Unfinished Melody, and as one general approach to digital figure painting.

Feel free to comment here on the blog with questions, and here are some that have already come up, to head off some FAQs at the pass... I'll try to update this if more good questions arise:

Q: How long did the painting take, from concept to completion?
A: From initial sketch to finish, the painting took 5-10 hours per day over the course of two weeks.

Q: Are your reference photos always pieced together like that?
A: No. In fact, this was kind of an edge case on the reference altogether, where I wasn't using professional lights, and I didn't get one good shot. The kind of reference I used for this painting was not as much for lighting as it was for nailing down a workable form in the sketch. If I could go back, I would have done a better job on that part to show what really good reference looks like, but that early on I wasn't 100% sure I was making an in-depth demo, and I did a lazy job. Live and learn.

Q: Were you using references besides what is shown in the video?
A: No. I have a single monitor (Wacom Cintiq) setup, so if there are no reference images on screen, I wasn't using any at the time.

Q: You started out with a man's hand gripping her ankle- why did you change your mind?
A: At first, I wanted the dying soldier to be reaching out to the girl as a caring gesture (or as a feeble attempt at protection?), but as the piece progressed I realized it wasn't reading that way at all. It looked more like he was the one holding her back, and it made him both the enemy and too much a focus, so I painted it out. At the risk of looking bad at planning, I thought it was a good teaching moment for the series: if something isn't working, don't keep painting it.

Q: You use (insert hotkey command) instead of (other hotkey command) in Photoshop- why?
A: Admittedly, I'm not the most efficient Photoshop user. The reason is, I started using Photoshop 20 years ago (like, before layers existed), and while I've made an effort to keep current as new features come out, I still do a lot of things an older way, or just never realized there was a command for something, and my cohorts rightly tease me about it mercilessly. :)

Q: At what resolution were you working?
A: The original digital file is 15 x 10 inches, at 600 dpi. Or, 9000 x 6000 pixels.

UPDATE #1:

Q: Where can I find the music in the video?
A: All of the tracks are free to download from FreeMusicArchive.org. Each track name and artist is listed at the end of the video (pause at 1:00:50).
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