Hi. yes, it's a traditional painting technique ; and sure in digital it's a bit confusing to use 'thick' and 'thin' because the pixels can't have thickness. Sorry about this. But it's possible to simulate with digital tools this technique on two aspect : - on a workflow aspect - on a feeling and rendering aspect Example ; I use a brush for the 'thin' layer with low opacity, blury, and with a texture on it ( as if I was using diluted painting , and revealed the texture of the canvas ). It's a thin layer to feed the canvas and I also use blending modes as 'multiply' or 'overlay' to increase the feeling of glazing at this step ; and it's often a pass a bit more dark than the top thick layer. For the top thick layer, I use a brush with full opacity, and more visible bristle, and expressive strokes. Those ones catch the eyes, and I also build higher values or saturation with it ( over the 'thin' dark background preparation ). Working this way helps me to match a 'painterly feeling' I'm looking for, and also helps me to not fall on detailing too much and keep a bit of human-made movement too. It's really one of the target of the thick on thin technique : not only something convenient for real traditionnal painting ( because it's easier to render a thick white stroke over a thin dark background , the reverse is almost impossible and doesn't look good ) but a rendering with a specific painterly and expressive look .

David Revoy

What do you mean by a "'thick' over 'thin' painting method" on page 11? When I looked it up, it seems to be an oil painting technique but I don't understand how that translates to digital painting.

Antan Karmola

Thank you !

David Revoy

Thanks ! I'm probably not exact, but I believe I take between 6 to 8h for each panel at the moment.

David Revoy

Me too - it was nice to see the steps you take to get to the end. How long does a panel like this take you?

Thanks. I really enjoy these work in progress PDFs :)

Nick Allott