The first sketch looks a lot like watercolors, I try to use a light coating so the lines can be easily changes if I’m not happy with the placement. This is where I decide where the objects are going to be placed and what colors will be used. This is the first layer of paint on the canvas. It took only a few seconds to do, but the painting took over a year to complete (mostly because I needed to get back to painting) This is the original sketch for this painting. I think it could have used other colors, but I’m still happy with the results. I still wanted to make it bright, but keep it within one color range. For this painting I wanted to use a single dominant color instead of using various colors. I kept going back and forth on the canvas, and finally decided to make it much smaller than the original sketch. While sketching and outlining the drawing, I was undecided on the size of the “fish eye”. It started as a quick sketch and turned into a larger piece (16″ x 20″). This painting was started about a year ago, before I moved. Selecting a region changes the language and/or content on makes yet another appearance in one of my paintings. Remember that they overlap and follow the contours of the fish’s body, with scales near the head larger than those near the tail. You’ll find that fish scales vary in size, shape, and color. If you want to capture the individual scales of a fish, study your reference images. To represent the delicate, transparent fins, Braun lowered the opacity of his brush to around 40 or 50% to achieve that look. For his Moorish idol, Braun extended the dorsal fin triangle to a long point trailing behind the fish. She also adjusted the fish’s mouth by adding detail to the lips and drawing another curved line to represent the cheek. Those are very sharp spines and the fish can raise and lower the dorsal fin using those spines,” Whitlatch says.įor her tuna, Whitlatch added more soft lines to give texture to the other fins and detail to the triangular spines. “I added the spines to that front part of the dorsal fin. For example, Whitlatch adjusted the top of the tuna’s head above the eye. If you’re drawing digitally, you can create a new layer and refine the lines of your fish as you fill in more details. To build on the basic circular shape of the idol’s body, Braun suggests adding some loose, rounded triangles to the top and bottom, adding two triangles for the tail, and, of course, a small oval for the eye. If you’re sketching a tropical fish like the Moorish idol, you have fewer features to worry about. Finally, draw the tail, which is shaped like a crescent moon with symmetrical lobes. Tunas also have a ridge of small triangular fins that go from those dorsal fins to the tail, so be sure to draw those. Then add the bottom half of that boomerang, the anal fin, on the underside. Then draw the second dorsal fin, which looks like the top half of a boomerang. Draw the ventral fin on the chest area right below the pectoral fin, and the long, spiny first dorsal fin on the top of the tuna. On a tuna, the pectoral fins directly behind the gill covers are like the arms. Use your reference photos to help you add fins. This line represents the swim bladder, which helps the fish orient itself and maintain depth in the water. For a tuna in profile, add a vertical curve to represent the gill cover, and a lateral line from head to tail. Note that bony fish tend to have lower jaws that jut out past the upper jaws, the opposite of sharks. Add the eye, nostril openings, and mouth.
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