Step 1: Background, part 1

The general color of the gradient fade of the logs are used. Here, there are 3 layers of this strategy applied to get a good, solid layer. The object is to get rid of loose, painterly brush strokes.

Step 2: Background, part 2

This section can easily be compared to mapping and drawing. I'm actually eyeballing even space. A very precise way of doing this would be to measure the space evenly. I did use a ruler to give me straight lines.

Step 3: Background, part 3

The lighter colors, the highlights, help give a relief. Relief is used in this way to mean, height or suspension. It is a term mostly used in sculpting. Different thicknesses and transparencies are used to create this look.

Step 4: Drawing

A smaller round brush was used to make out the proportions and dimensions of the head. Painting and drawing go hand in hand.

Step 5: White

So, now we are reverting back to canvas, creating a "new" canvas. Anytime white is applied, it's considered reverting back to canvas. This is another time as well where drawing comes into play. It takes a good, keen eye to capture form and shape. The type of brush you use also plays a role in the shape of the strokes. I usually like to use square tips for filling in and round for everything else, like drawing.

Step 6: Color

Not too much color is needed given the reference but, there are several shades of brown, earth tones, are a key element in making this 3-dimensional. Note how the blending is different on the horns versus the hair.

Step 7: Shading and details

You can see that the horns have been enhanced with fleshy shading. When you shade, the color doesn't have to always be a shade of black. As long as the value of the over-all color is darker. The general shape of the eye has been added also.

Step 8: Finishing the Head

Small little details have been aded to finish up the head. The eyes received a glimmer, using the smallest amount of white paint. Blue has been added to the body and the horns as a reflected, cooler light, opposite of all the warm colors we see. The nose has been added to and then, the finishing touch was the Shadow being casted on the wall, using a very watered down black. Solid black wouldn't work. Even as a shadow, we should still be able to see what the shadow is being casted on.

Step 9: The Hands, part 1

The hands are done in white, first. Here, we get the proportion and the basic shape.

Step 10: The Hands, part 2

This is where we overlap the white with a base skin color. Since the white is down, we can paint this layer as if it's on fresh canvas. Starting with a base color and letting it dry before applying the shading and highlighting works best for me. That base color will be used again to create gradients.

Step 11: The Hands, part 3

Here, the shading and the highlighting was applied to the hands. The light casing down from above was perfect from the picture I took. Most often times, it ends up being easier to go out and shoot the reference, yourself, rather than hunting online from stock photography or whatever.

Step 12: DOD and Gun

Here the gun and the Day of the Dead makeup has been added. The perfect image for that specific gun was found by going to a gun store, Retting, and asking kindly to take pictures of their merchandise. The lighting in the photo wasn't the same as what I needed for here but, that's when knowledge of highlighting and shadowing certain shapes come into play.

Step 13: Drip

And the finishing touches are the drips. I chose the color red because it felt appropriate given the kill of the beast.