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Khenra Scrapper
-By Jesper Ejsing
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Pencil sketch with values and a bit of color to explain the light.
This illustration is a for Magic the Gathering of the set called Hour of Devastation. It is a Jackal warrior wielding
small knives in an aggressive pose. A simple art description. Therefore I decided to make a simple portrait
solution. The sketch I submitted asked only for one small change namely the collar that would look too much
like a feature from another character in the same set. But I really liked the ribbons that was attached to the
collar so I kept those just hanging from somewhere on his back. I like the ribbons because they add life and
movement to an else static pose. When I transferred it to the board for painting i felt it looked empty, so I
decided to add even more movement in this case - yet again - by adding a flock of birds. Those egrets are also
a very clear reference to Egypt, the main inspiration for this magic set, so it would help the scene I thought. Also
I like how they are taking off as if they are fleeing from something: The Hour of Devastation.
Contributors
Arnie Fenner
Scott Fischer
Donato Giancola
Greg Ruth
David Palumbo
Ron Lemen
Vanessa Lemen
Jesper Ejsing
Justin Gerard
Cory Godbey
Gregory Manchess
Lauren Panepinto
Howard Lyon
William O'Connor
Paul Bonner
Petar Meseldžija
When I look at the sketch now I am annoyed that I did not keep the lower leg in silhouette as in the sketch. For
some reason ,that I cannot explain now, I added cloth there and covered up that little negative space. It is not
helping at all. In the sketch the leg looks like he is stepping up on a rock and that the other legs disappears
down and is stretched out under him. In the final, most of that is lost and the weight and movement is not as
good. I am pretty sure my idea was that the battle mist and smoke and fog would hide it all and that I wanted to
focus in on his torso and face, but it did not all turn out that way.
Anyways; after I get an approval I take the sketch to a watercolor board and ink it all in waterproof ink and then
adds grey tone value in black acrylic. This way my first washes are only acting as tonal to the drawing
underneath and I can work more loose and random. I use lots of water to block in the local colors and to create Subscribe To Muddy Colors
happy mistakes and texture that I can use further in the painting process. I take a photocopy and do a color
rough. This was kind of an easy choice. I knew I had a black skinned figure so I might as well put him against
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he light to have a clear silhouette. He was going to be a black silhouette anyway. It meant that my background
would be lighter than the figure. It is all a very warm picture; lots of yellow and red. If everything is too warm you Comments
have nothing pulling the other direction, so I added some grey for a neutral color and a bluish to the top of his
head as a reflection of sky color high above him.
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