#TGTW

[idk-im-just-here-now]

GUESS WHO FINISHED THEIR PROPAGANDA/OFFICIAL POSTER FOR REVELATIONS TIMELINE! (it's me I did)

WELCOME TO THE REVELATIONS TIMELINE!

(click for better quality)

(@tmntaucompetition)

[ckidarchive]

the Dyolet fruit, medicinal and healing, and a delicacy within the Empire, found only in the Velvin Thicket 🫐🌿

(one of two pieces for @tgtw-project ✷🍂)

[lynaiss]

My contribution for the Winter Season of @tgtw-project​ featuring Yondis the Winter Star + a scene from the Flotket Alps adventure ❄️️

[tshortik]

My contribution for the Summer season of @tgtw-project!

The noble umavis of the three main dens in their ceremonial clothes: Leylas Kryn, Skysybil Abrianna Mirimm and Deirta Thelyss ✨ ~

[passingthegravesoftheunknown]

"Loss is not an unfamiliar concept to our family"

Here's my interpretation of Caduceus' mom, Constance Clay, for the @tgtw-project!

All the flowers I included tend to be associated with mothers/motherhood or are gifts for Mother's Day!

✨do not repost my art | Reblogs are love✨

[dreaminginpencil]

Tourist’s Guide to Wildemount’s (@tgtw-project) summer project:

This piece is a stained glass style depiction of the Bright Queen, Leylas Kryn, holding a Luxon beacon.

[eldritchadept]

Rosohna, city of rebirth and everlasting twilight... 

One of my favorite places from the wonderful world of Wildemount, & my second contribution to the @tgtw-project!

[adurna0-art]

Oremid Hass, Archmage of Cultivation (ft. Frumpkin!)

[shrugsinchinese]

Volstrucker, also known as “Scourger”

For the @tgtw-project Autumn Showcase

[ofteasandherbs]

So this is my piece for the @tgtw-project Enjoy Colton Clay… my sweet sweet boy whomst I love

[apricotsndots]

My first contribution to the summer season of @tgtw-project​ !! A Xhorhassian bugbear-drow family farm cranberries on the moorland, and you KNOW they make killer jams too

[idk-im-just-here-now]

Guys I wrote another fic for the Revelations Timeline it's Leo's turn-

[ckidarchive]

the Dunrock Mountains 🗻

(second piece for @tgtw-project 🍂✷)

[glitter-garbage]

To your left as you look up, you can see the ominous, rising peaks of the the Ashkeeper Peaks themselves... You can see that you are at the base of where the mountains begin to slowly grade into the wastes, which you see to your right. There are dead trees. Whether it be they themselves are bereft of life, or they've lost their leaves to the season, you're not familiar with this territory to know-- yet. [CR2E51]

My first piece for the Tourist’s Guide to Wildemount (@tgtw-project), autumn edition: the Ashkeeper Peaks

[Image ID: An illustration of the Ashkeeper Peaks from Critical Role. The mountain is depicted with sharp geometric shapes that give the image an ominous sensation. The mountains and the sky are painted in various shades of red. There are dead trees, small bridges and hidden passageways in between the peaks of the mountain. End ID]

[tshortik]

"Can't follow you through there." My piece for the Autumn season of

@tgtw-project - Kaltenloch!

A frozen lake that is haunted by spirits of the fallen Calamity soldiers, looking for warmth to steal...

[lynaiss]

My second contribution for the Autumn Season of @tgtw-project​​ featuring variations in Cobalt Soul formal clothing ✨

I wanted to portray formal clothing of various members who all have different positions in the Cobalt Soul. On the first image, they are from left to right: Demid Sunlash, Dairon, Yudala Fon and Tubo.

Notes about my process are under the cut.

So, here’s another post with a bit of insight into how I approach things. Hopefully it’s helpful or interesting!

When I chose this subject to draw it I knew I wanted to portray variations in formal clothing throughout Cobalt Soul (part of Critical Role Campaign 2 setting lore) hierarchy. My idea was to convey station through detail level and the variety and intensity of the color scheme. With just that I set out to draw a sketch.

(yes, it was a very bad idea to just go sketch it and it went very poorly. Some people can fly in blindly but that never works for me. Chaos reigns in vague directions and is my biggest nemesis.)

Halfway through drawing the figures I realized the outfits felt very same-y and lacked unique shapes. I also wasn’t pleased with how tense the poses looked like so I abandoned the sketch and went on to do a separate sketch for the outfit designs. Sometimes you just have to scrap things and start over with better preparation.

While making these I kept in mind my goals for each outfit and had one eye on the cut and detail references below, which I gathered just before sketching.

I knew I wanted to have some elements inspired by Eastern European traditional clothing so I gathered those images specifically, and wanted to have eye and triangle motifs in there since they are associated with Ioun (patron Goddess of Cobalt Soul). I also looked up the wiki for Cobalt Soul and determined which named characters from Critical Role Campaign 2 I’d like to portray, then added stock photos of models that had similar features that I wanted to paint.

Another thing I did while gathering references was to shoot my own with a few poses that I thought might work best. There were many broomsticks in there as stand ins for staves 😔

I don’t own any lighting equipment, and I wanted a clearer idea of how colors and light interact, so I mocked up a scene in Blender. I used DAZ for figures and the Sketchfab addon to quickly add stand in props made by other people, then very roughly blocked in the clothes. I am sure anyone who actually does 3D would recoil in horror at it.

This time I had all the things I needed and finally produced a good sketch. Some elements of it I traced off of the Blender render to save time; models were posed off of photos so risk of making things stiff was minimal and anything that was off I just corrected while drawing over because I have enough figure drawing experience to spot it.

I like to keep my blockin process very organized and very similar to how I approach it while working in different styles so I don’t get overwhelmed and lost. First I lay down flat local colors and then on top add shadow and light with Multiply and Hard Light layers.

With the initial blockin done, this is where A Lot of Rendering begins. While I’m at it I keep finding things that need more detail or specificity so I’m constantly looking up images to help me. Below you can see how my reference board looks after the entire process. This piece was very heavy on clothes so there are many references of fabrics and folds. I also wanted to push myself with painting skin so I gathered quite a few photos that gave me a clear idea of color shifts.

While rendering the outfits many times I noticed some elements were too much or needed a bit more detail, so I deviated from the original outfit sketches where necessary. None of it was a big change so the general feel of the outfits wasn’t disturbed, but that extra bit of accessories or stitches really helped the clothing feel more lived in.

(I redid that BG so many times because I couldn’t settle on a look for it...)

And then some 20 hours later we have this! That probably would’ve been half as much but I had things going on IRL which kept distracting me from work and then I struggled to focus while trying to get back to it.

I’m fairly happy with how this turned out and it really made me think more about how I use my brushwork to convey detail, along with making me pay more attention to how much detail I add. One thing I noticed that I should work on improving is my values because until the very end some of them were quite murky and made some important details and edges unclear.

Overall I probably spent around 25 hours working on this piece. I did all of my painting with Wacom Intuos graphics tablet, in Clip Studio Paint, with 3 custom brushes.