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Here's part 3 of the wave drawing process! Part 1 is here, and part 2 is here. Just like with the last two videos, this process is sped up to twice the original speed, and you can slow it down or speed it up with the gear button on the player. ‘

This is the final part of the process and at this stage, it’s kind of a crossroads: either lean more heavily into the stylization, or push for a higher degree of realism. For this one I decided that the stylization was more important so I start by stylizing the figure a bit more to create a more simple silhouette, which I felt would have more impact. I do try to push for more depth in the water, which i do by superimposing some stock photos of water and seafoam onto specific areas of the painting. I also found that if I add some white brushstrokes with a “bevel and emboss” layer effect added to them, and then set that layer to multiply, it gives the impression of ripples. This is something I do around 50 minutes in to this video.

As I was finalizing this painting, I felt like something was missing. There was just too much empty space at the top. So around 19 minutes in, I decided to add some dolphins / small whales to the painting, as if they are swimming through the wave and underneath the character. I found this image to be really useful as reference, to help me understand how the silhouettes of the dolphins interact with the ripples and waves of the water:

Hope you enjoyed this process and as always, let me know if you have any questions!

Comments

Aakanksha Mittra

Thank you so so much for taking the time and effort to compile such a detailed process! This was so helpful!

Anonymous

I learn so much with you. Thank you for showing us a way to organize ourself and to achieve easier what we plan for our own art. Little aspect of things I didn’t think about before. Such a nice way to practice and improve everyday on my own art project . Thank you for the time, effort and for sharing your practice :) very much appreciated

Anonymous

My fiancé especially loved this piece when you first posted it a while back. She said she wants to get a print of it. Thanks for sharing the process!

Anonymous

I’m in love with this one! It’s breathtaking! Thank you for sharing the process 🙏🏻 How did you decide which style is for you? every time I see works by another artist, I have doubts about how I should draw.. I still don't know what to focus on. Thank you for all your help 🙌🏻

Loish

i definitely relate to that and struggle with the same issue when i spend too much time looking at other artists' work! i think it's just a question of making choices, and making sure i'm not digging up too many influences at once. i try to focus on learning a specific thing for each drawing so that i can get the most out of the learning process! hope this answer makes sense ^^;

Loish

thank you! this means a lot, since this is very much my goal with sharing learning content. i want to inspire and motivate artists to find out what works for them :)

FaroreNightclaw

I believe I've seen you tell other patrons you're not interested in critique on your Patreon art, but I have a couple questions and one of them requires mentioning some critique-adjacent stuff, so I hope you'll please forgive me and remove my comment if it's an issue. My first question is a bit convoluted to ask; basically, I've noticed that on your pieces featuring both a character and a detailed background like this, particularly ones where you've started with a rough lasso tool thumbnail underneath, you have a tendency to stick with choices early on related to the character (typically minor anatomy issues, such as the off-joint right wrist or the level of simplicity of shapes on the right arm compared to her left arm) or how the character is interacting with the background (usually placing the character on the 'correct' plane of the environment for how they're meant to be interacting with it, such as here where the character's outstretched hand and her feet are on two different planes). (Please keep in mind I am an intermediate artist only and could be horribly wrong on my view of these points.) I suspect this is related to starting with a defined silhouette that is on the rough side and then feeling the need to stick to this silhouette even if there's parts of it that are 'off' because you don't want to lose that initial energy? At least, that's what usually causes that sort of thing for me. I tend to be too precious with my original sketch of thumbnail, and sometimes I end up married to choices that are not the best for my painting/drawing overall, especially in complex environment images where there are a lot of things interacting. But if I swing the other way and try to keep my sketches very loose and gestural and intentionally made to be changed as I work on them, the end product suffers from a lack of planning. So my question here is, do you know of any good way to avoid this happening? I've heard other artists say 'don't be precious with your art' but when I get a gesture or silhouette that looks great and has the energy I want to convey, it's hard to just scribble that out and start over while painting. Any advice here would be great. One thing I've noticed you do a lot is to draw a shape and then fill it in with a slightly more transparent tone. Out of curiosity, what's the choice behind this? On faces and such it creates an extremely stylized look, but for stuff like the foam here it actually contributes to the realism and recognizability of the details. It's a mark of your style I've noticed and I'm interested to know what got you started doing that and your thoughts behind the technique. You mentioned that you don't use reference for the characters in these character/environment combo pieces; do you usually use reference in character only pieces? What sorts of reference materials inspire you, and where do you find them? Do you only use ones you have legal rights to include in (often commercial, since you do prints and merch) artwork, or are you fine using any photo or artwork as long as it's not an exact copy? What's your favorite color combo? Any type of scheme.

Loish

I think the short answer to the question about the silouette is yes, I tend to want to keep the energy of my initial silhouette sketch! I’ve never been big on anatomy accuracy which is definitely a flaw of my artwork and it’s something that I haven’t really tackled yet. I’m always ok with inaccurate anatomy as long as the image ‘feels right’ to me, which may not be something that other people are seeing in the same way. hope that answers your question! As for your problem with lack of planning vs. being too precious, I think it’s a question of finding a balance. And just checking in with yourself on what is driving that need to feel stuck to creative decisions. If it’s ambition and a desire for the best possible outcome, that’s great! If it’s perfectionism and gets you stuck, maybe it’s better to let that go. Whatever serves your ability to create a piece with the impact that you’re looking to create. I do think that artists often dwell on little details that aren’t that important to the big picture, so if you catch yourself doing that, you might want to reach out to some artists friends to get some perspective on how important those details really are. sometimes they make or break your drawing, but sometimes they don’t have as much impact as you think and you might be letting perfectionism take over your creative process. About the shape and filling it in, it’s funny because I talk about that in my latest tutorial! it’s just a stylistic approach that really ‘clicks’ with my way of drawing. it helps me think in terms of shape and volume while still achieving a painterly look. and it feels so satisfying :) I’m just kind of addicted to that way of painting at the moment! I started doing that when I was trying to move away from this overly smooth style of painting that felt like it was lacking edge and volume. And i guess the origins come from way back, when I used to use a c oloring techinque called ‘cel shading’ for a while, where I painted with blocks of color. As for reference, I sometimes use reference for character art, but sometimes I don’t. I try to draw poses from the imagination to get more sponaneity in my art and will fall back on reference if I’m struggling with specific details. I use a lot of adorkastock reference for poses, and when I’m drawing a piece like this one, I need a lot of reference for the water, especially the details of the seafoam. I’m usually inspired by nature and environment reference images, and for character art, it’s more from the imagination. I try to stick to royalty free ref but sometimes I’ll use photos I find on pinterest, which of course isn’t royalty free. I don’t sell highly derivative work of this kind, I only post them as studies. My favorite color combo is definitely blue and pink! my absolute all-time fave! Hope this answered your questions :)

FaroreNightclaw

Wow, thank you for such an in-depth response! Stuff like this makes me SO glad I pledge to your Patreon, you're so responsive and invested in helping your patrons with all the tutorials and process videos and how you respond to comments and questions, it's fantastic. I really hope someday I can be as dedicated to my own Patreon (which is currently just image packs and monthly commissions). I currently mostly do cell shading but I keep trying to branch out into painting (difficult because my customers all want cell shading since that's mostly what I do but that means it's even more mostly what I do.. and I don't get in a lot of personal art these days due to struggling with completing art in general, which I'm trying to move past). Watching your videos is really inspiring though! I can see how cell shading has influenced your art now that you mention it, that's really neat, and comforting to know that you made the jump from cell to paint, and hopefully that means I'll be able to do it too! :D Blue and pink is my favorite combo too! You have good taste :P Thanks again!!

Lion Art Studio

I was interested to read your answer to these questions, really nice you took the time to answer them all in detail. I wanted to add my 2 cents to this conversation….. I started digital about 4 yrs ago after a really long spell of not doing any drawing, so I was really beginning again as I’d forgotten everything & any muscle memory was lost. I decided to go back to complete basics after a couple of years messing around & learning programs, as I was hoping to one day work as an illustrator professionally, & I’d never liked drawing the human form… something I had to rectify. At that point I’d zoom in, be focused on details that in reality would never be seen & my work was so stiff & lifeless. It wasn’t until later as I studied with some really amazing artists, that I realised this. From that day forward I started to rely more on my loose gesture sketches & do not zoom in until the very last hour I’m working on client pieces… that allows me to add a few details, without obsessing & staying zoomed out your looking at the full picture, which for me helps to keep that initial energy that’s vital. I think the touches of inaccuracy in the work from an artist such as Loish adds to the charm & character of the piece… they are not anatomy mistakes, they are choices made to keep the artwork fresh & in their style. I honestly feel having perfect anatomy would be detrimental to Loish’s art…. It’s stylised, not photo realism & it’s her perspective on life. I have a long way to go, & am still working hard to convey the energy & life to my work that I hope to achieve, but I am now making a living as an illustrator which is awesome. I started with a more hyper realistic style, but have broken it down & my my clients are really responding to the last years body of work… so I feel I’m on the right track. Keeping zoomed out, has definitely been the best way for me to not focus on minute stuff, it may be helpful for you farorenightclaw