Flying Above the Clouds

A workflow test on first panel of future episode 35; it's based on a approach using the Grisaille to Color workflow (b&w recolorized) and I'm doing more test to better understand how to use blending modes; the various Color HSV/HSL/HSY option of Krita and make my values more accurate for the scene I want to depict. I'll share all this research on future videos; but sooner than that; I have to keep working on sharing what I learned about previous episode inking and usage of colorize-mask. So, it might take time until I do a video about my observations on Grisaille-to-Color workflow in Krita. I have now a full episode to render this way. First step: all page will be in black&white (or slightly colored) for the beta. I'll keep sharing artworks and cropped part of pages along producing the episode.

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David Revoy,, .
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link Andreas   - Reply

Very cool picture. Thanks for sharing this picture. Looks very awesome.

Is it describeable what benefits a grisaille to color workflow have instead of black and white? At the moment iam learning rendering (B&W) but i notice some of my favourite artists using blue, what seems to called "closed grisaille", which i dont know before and only found out because you write about the grisaille to color workflow what i heard now for the first time also.

link David REVOY Author, - Reply

About the grisaille workflow; I realised (while doing skeches for episodes 35) I had ease to sketch directly with shaping forms and skipping lines. But as soon as I try to do that in color; I'm lost into too many informations: thinking about the color choice and saturation/hue quickly made me take not very good decision. Especially in regards of the gray values of the picture. So, I gave a try again to paint in gray and get better values before thinking about cold/warm; texture and general ambiance; and it looks like I can benefit from a workflow like this to get quicker to a result closer to what I have in mind. I guess future will tell if in 2 or 3 pages I start at screaming that this technique doesn't look as I want. I very often adopt and reject this technique: my main complain is often about difficulties to paint anatomy without a solid contruction and grayish colors.

About 'closed grisaille' it's first time I meet the expression.
Like this?
It looks like a technique I crossed for traditional media; to get deep bluish shadows in oil painting; and then glaze on the top layer of warm color. Oil, with the layers can totally recreate more than just the color of the skin; it can mimic the transparency and go further into subtle details (more than any print/photo/screen). I believe this technique is used for that. If it is something else; let me know, I'm very curious.

link Andreas   - Reply

Thank you for this informations. And sorry for the confusing.
I think the naming of "closed grisaille" is just something i read in this blog article

A example where i noticed this is in a video from Philip. A. Ulrich (@soma at (sorry its paid content) where he use blue to black for the "underpainting". I guessed as a a newby that this is the reason that give the pictures some kind of "color touch". I think most of the picutes i see in his gallery ( have a tendency to blue or brown and i concluded that this comes from a grisaille workflow or a adaption of it. But maybe its some kind of color correction. I really dont know.

link David REVOY Author, - Reply

Thanks for the links. For environment; it might be beneficial to pre-tint the shadows in blue (using traditional) with digital, it's so quick to add blue to any grayscale picture; even non linear way with Gradient map and/Or Color balance that if it is painted like that from start; it's more a matter of taste and comfort while painting I imagine. In fact; looking at a pure grayscale picture on a well calibrated neutral screen is a bit boring; working with a couple of shade of colors might spice up the game a little bit. You are right speaking about it as an underpainting.

About seeing a dominance of a hue and tint on another artist; I guess its impossible to tell where it comes from; from the top of my head:
- A personal taste and consistency for this hue and color correction
- A bad (or not) color calibrated device xD
- Not a lot of time to save the color balance of a piece, and accepting the artisty result as it is.
- A workflow that produce this type of layer stack.
- A slight color vision deficiency; it can be subtle.


link Andreas   - Reply

Thank you for the insights :) !

link Châu   - Reply

¡Beautiful picture for poster! ¡Merci!

link Luch4   - Reply

Nice picture. But there is a low level of oxygen above the clouds. If dragon pilot has a glasses, then he need a mask.

link David REVOY Author, - Reply

Hey, I appreciate the feedback ;)
But I'll not push the realism to this degree in Pepper&Carrot's world (sorry for the airplane and pilots audience). The physic laws in Pepper&Carrot are not really an exact replica of the one we know on earth (Pepper already traveled over the cloud in previous episodes, Flying city of Komona, etc...etc... ).

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