But digitally transformed: original is truly “white on white” with various “white” pens & pencils on “white” paper!
Photos left & right, digital alteration in the center … Textures and edges are tricky to capture in photos, especially since I am not truly controlling the lighting! Warm lighting at left was taken late in the day, outside. Photo at right was taken inside my workspace, same time of day with only indirect natural lighting.
The full sketch is roughed in, and sampler of textures worked into the trees. I will be working over much of this, so it will change a bit, but the general plan will (probably) remain with the Dancer in the Trees!
I acquired two “mystery material” boards that are 24″ x 30″, with polished metal on one side (wrapping around the two long edges). The metal is probably stainless steel, the board material may be some kind of dense composite, but I don’t know if the dark charcoal grey color is a veneer, or throughout.
The above board has a painting on the back, dark composite, side, currently protected while I work on the metal. This is a new experiment for me: I am engraving the design using the power rotary tool and diamond burr bits. So it will be quite the sampler of textures as I play. I have sketched in a drawing using a Sharpie poster paint pen, but I am working the textures free hand, plus I am not staying inside the lines… it is a bit of a scribble, but fun.
I rubbed on a bit of magenta pigment just to see what I had done a bit better. The engraving raises a burr like drypoint work, so even loose powdered pastel clings to the edges.
This is draft #5 above: photographed outside, then inside under my studio lights, followed by a complex digital transformation. The images below are the previous draft, minus some detailing and leafy additions!