[9 x 12" - blue pencil, brush & technical pen, COPIC marker on 100lb/300series bristol board]
I was in the middle of drawing this image and operating under the idea that it was only a black and white bust. Luckily, I looked at my commission list and realized that it was meant to have the gray tone option I've made available as an added premium.
That's when the headache kicked in.
To some people that little hiccup may not seem like a big deal: Just put in gray instead of just drawing it with pen and ink, right? The only problem with that is that most of my images are based heavily on composition - even the ones that don't have much of a noticeable narrative. These days, I'm hardly ever concerned about the best possible way to render something - I leave that to a younger, more energetic, easily distracted generation. Instead, I try to concentrate on communication. I turn my attention in putting emphasis on the composition of shapes; the placement of positive and negative elements within the image. And trust me - it's massive pain in the ass sometimes. It is to say that what I can get away with in a simple black and white image (which is somewhat 'old hat' for me) is not something I can easily accomplish in gray tone (which is still new and something I'm trying to get better at).
So I had to go back and re-think where all the light and dark areas were going to be, I had to re-evaluate where the majority of where the heavy details would be, and at one point I was seriously re-considering starting over from scratch. Luckily, some of those points that I typically laboriously obsess about somehow fell into place. It still could be better - some areas are just messy and the 'rule of thirds' is just this side of being completely abandoned, there's not enough emphasis on her face as it relates to the big cat head piece she's wearing as it relates to the set of leaves and vines that I was trying to use as a framing element as.
That's a lot of 're-' in that previous paragraph.