The transitioning of colour temperature, from hot to cold, as the forms progress upwards was a key aspect in the piece. This transition of colour helps to communicate the flow of energy throughout the image. The method in which I added colour to the forms was quite simple. When I applied my patterns using the Pattern Chalk tool (Fig.30), I created a new layer and made my desired pattern. At first, the pattern was only one colour, so in order to get my gradations, I set the layer to preserve its transparency and then airbrushed my colour into the shapes, in whatever manner I desired. I find the Digital Airbrush in Painter (Fig.31) to be realistic in the way that it provides the tiny spatters, which aren't digitally soft and blurry, but much more like a real airbrush, allowing the colour to blend beautifully. It is very optically attractive because of the so-very-subtle build up of colour (See Fig.29).
At this point, I sat back for a while and observed the image, and in doing so I spotted areas that I wanted to build upon. The first thing I saw in the image came from the background, and it was the image of an ear. So I actually started the figure from the ear and worked my way around (Fig.32).
I expanded my canvas upwards, since it was starting to get cramped and the figure needed more room. Looking at the flow of patterns, I got the feel of a body and so began experimenting with form and colour. I added texture to the expanded canvas, also indicating a gesture of hair for the character (Fig.33 and Fig.34).
For a moment I re-thought the character, but it didn't work to my liking as the flow was all wrong and the emotion that I was aiming for had been destroyed. So I knew that I needed to step back and be much more purposeful at this stage (Fig.35).
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