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Description

Among my tests for Unseelie Fruits were ones of plants pressed on gold paint. I couldn't get it to work for the painting since I needed a range of dark shades for her background that the gold didn't work for. I loved the effect though and as soon as I realised I needed a real background for this knotwork I instantly went back to that test. I'm so happy with the chaotic fire like effect I've managed to achieve.

I adore metallic paints but rarely do they actually fit with my work. Often they'll be part of the design at first and then removed, so it's nice to have the chance to really indulge in it. Though that always means more time editing since scanners really don't know how to handle metallic surfaces. I have found a work around via gradient maps that leads to this result where I can still show off where the light would hit and the different tones of the gold paints.

Description

Among my tests for Unseelie Fruits were ones of plants pressed on gold paint. I couldn't get it to work for the painting since I needed a range of dark shades for her background that the gold didn't work for. I loved the effect though and as soon as I realised I needed a real background for this knotwork I instantly went back to that test. I'm so happy with the chaotic fire like effect I've managed to achieve.

I adore metallic paints but rarely do they actually fit with my work. Often they'll be part of the design at first and then removed, so it's nice to have the chance to really indulge in it. Though that always means more time editing since scanners really don't know how to handle metallic surfaces. I have found a work around via gradient maps that leads to this result where I can still show off where the light would hit and the different tones of the gold paints.