Voolf's miscellaneous art

[Ilanthar]

I tend to use "overlay" or "multiply" layer settings with a very low opacity (between 15 to 30%), and to use some very dark colors. Thomas & Mouse have it, I think, the color palette & the choice of the parchment do the most part of the job, I think.

[J.Edward]

It took me a while to find it, but here's where I showed the colors from Skenara and Pelmora.
https://www.cartographersguild.com/s...l=1#post328403
It really does matter what paper or paper texture you use behind the color.
If you use plain white, it loses a lot.
And all color layers need to be some form of transparent - in effect - multiply, color burn, overlay, softlight, etc.
So the paper texture underneath can show through.
So no opaque color layers.

Unless you are working in reverse order...
where line work is the top layer.
In that case you would have all of you color layers and then you would put a texture layer over top of those and likely set it to multiply to get that feeling of paper texture.
That is usually harder to do but faster, and also more imprecise and prone to error.

[Voolf]

Thank you all for advices. Such a big help.

I think i can't pick the right colours for the job. I also don't have good textures, it is hards to find good hi-res and the ones i got are missing something.
I also don't know should i fill in very bright colour and then shade with black multiply layer, or just darken the shaded parts with same more darker colour?

[Mouse]

Hot strong colours bring something closer to the front, and cool grey colours send things to the back. Contrast and detail in the foreground always need to be greater, and recede into the background.

Even in a photograph you can see that the horizon is paler, bluer, and less distinct than the rosy red apple with a strong shiny highlight in the foreground.

Maybe look for a colour scheme first, then even sample colours from that image, and use them in your map. It doesn't have to be the same colour as the actual place. You could do it all in shades of blue, lavender and orange, or whatever takes your fancy - as long as the colours read right. In other words if you choose an image to sample colours from that happens to be a landscape, use the foreground colours in the foreground of your map, and the background colours in the background of your map.

I have an appointment in half an hour, or I would draw you a simple landscape to show you what I meant....

EDIT: apart from the hard line along the ridge of mountains in the background (which partly destroys the sense of depth in this painting in my humble opinion), this image by Johnathan Harris illustrates most of those points - cool pale colours in the distance, hot contrasting colours in the foreground. More detail and contrast in the foreground.

https://fineartamerica.com/featured/...an-harris.html

These paintings by Kristan Baggaley all demonstrate the same, and might provide a little inspiration for the colour scheme

http://www.derwentgallery.com/kristanbaggaley.htm

[Voolf]

Hot strong colours bring something closer to the front, and cool grey colours send things to the back. Contrast and detail in the foreground always need to be greater, and recede into the background.

Even in a photograph you can see that the horizon is paler, bluer, and less distinct than the rosy red apple with a strong shiny highlight in the foreground.

Maybe look for a colour scheme first, then even sample colours from that image, and use them in your map. It doesn't have to be the same colour as the actual place. You could do it all in shades of blue, lavender and orange, or whatever takes your fancy - as long as the colours read right. In other words if you choose an image to sample colours from that happens to be a landscape, use the foreground colours in the foreground of your map, and the background colours in the background of your map.

I have an appointment in half an hour, or I would draw you a simple landscape to show you what I meant....

EDIT: apart from the hard line along the ridge of mountains in the background (which partly destroys the sense of depth in this painting in my humble opinion), this image by Johnathan Harris illustrates most of those points - cool pale colours in the distance, hot contrasting colours in the foreground. More detail and contrast in the foreground.

https://fineartamerica.com/featured/...an-harris.html

These paintings by Kristan Baggaley all demonstrate the same, and might provide a little inspiration for the colour scheme

http://www.derwentgallery.com/kristanbaggaley.htm

Thank you Mouse, this is cool. I am basicly familiar with the pale colours in the background of scenery. This is why i wanted to make the background in low saturated tones to make simillar effect. It just seems i lack the skills for that now. Maybe going with one colour as you suggested you be good thing to try.

[Mouse]

Not one colour only (unless you particularly want to, of course), but you could keep it really simple and work with two - or four. For example two tones of blue/bluegreen in the background, and two tones of some relatively strong reddish-orangish-yellowish colour in the foreground?

Trees tend to be warmer yellow green in the foreground, and much paler more greyish blue-green in the background.

[jshoer]

Have you tried reducing the opposite of the LINES in the background? That would have the effect of making the background appear less sharp to the eye without applying a blur.

[Voolf]

Here is a chunk of something i scribble now and then when i am tired of other projects. Not much, but it's a start.

Unknow_wip_v1.1_Zatwarnicki_Rafal.jpg

[Mouse]

That's looking beautiful, Voolf

Always jealous of your mountains - and I know I always say that, but its true

[snodsy]

Rally love the boulders and shading on this one, beautiful work again!