Making Of 'Imp VS Angel Warrior'
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by Oleg Matsokin |
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How many representations of the fight between good and evil do you think have already been created? To add to the vast range of interpretations of this eternal theme, I chose to depict the two opposing forces through an example of two very specific characters – an imp and an angel-warrior. I’d like to walk you through the creation process of this particular artwork with a detailed description of my workflow. So here we go! |
The concept of the image is the fight between those two all-time enemies: good and evil; dark and light; order and chaos. On one side is the imp, and on the other is angel-warrior. I didn’t want to show the distinct advantage or winning stroke of one of the characters (although the good character is of course expected to win the fight), so I chose to feature the characters in-flight, approaching each other with aggressive poses. They are depicted in that crucial moment, just a second before the battle begins. |
My choice of canvas for this image was А3 at 300 dpi – a good format for printing which also gives you the opportunity to pay more attention to the details. I cropped the landscape canvas slightly to make more of a square shape, and created a transparent layer over the white background on which to use my favorite standard brush (which I use in my work most of the time) (Fig.01). |
I normally start a new piece by establishing the composition. I’m convinced that an interesting and dynamic composition contributes towards 30% of the success of an image! So I started by sketching the motion and direction of the characters, forming the composition into a circle. The picture was divided into two planes: the imp in the foreground, and the angel in the background (Fig.02). |
The composition is not exactly ordinary, because the viewers become witnesses of the fight by looking at the battle scene over the imp’s shoulder, even though they’re not supposed to side with the dark force. The hand of the imp in the foreground is a point of entry into the composition and therefore it had to be the most detailed and neatly drawn. Then I made a sketch of figures in motion.
With the initial sketch and composition worked out, I continued by drawing the figures and their costume details more accurately. At this stage I tried to pay more attention to the anatomy, elements of the costumes, and accessories, as it’s always much easier to change the motion, perspective or any other elements in a sketch than to make alterations later on when working in color. A good and solid drawing adds another 30% to the success of an image (Fig.03)!
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