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Dust jacket cover I made for On the Hill of Roses, a short story collection by Stefan Grabinski (translated from Polish by Miroslaw Lipinski), to be published by Hieroglyphic Press this summer.
I had a helpful and poetic description from the publisher: '[...] a landscape at dusk, a rose garden with the bloody reds of the bushes merging with the dying sunset shades. The ground might be a dark, almost black green with hint of the sinister in the deepening shadows.' They specifically wanted something in the style and mood of Eventide, loose and impressionistic. So I set out to put my new watercolour skills into preliminary sketches.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_LCfU6Av0qF4VzqlmboN9EX6wuNZlwIWtIELHtgbH5Fu0ZLo3yooK2m5kt__vmMibH4JFsU2v75LWm1hMXgGTjfstYUVGgWrENZy1nsZ35RjaEEojUZwCwhkdnAu09x4N5uxYotv8sXY/s200/duskwc.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzqwAe1DVBUa6garVZigqsWKi4-Uc1E6MEAUfvjoUKq16Zfs0PrdcEKVdVdLmko8x4MEO4j-iAbV9wb3q9qZxkqe9VFhr7uKYumNPKlDwi7tT4adfb44wlutRhbVlowwvhIYzjLY15dcE/s200/dusk2wc.jpg)
Well, 'watercolour skills' might be a bit overrated. But these colour blobs were just what I needed, so I scanned them in and threw more values in PS.
Then I took the two and merged them into a larger, wider piece. I threw in more golden tones because I felt the pinks and lilacs were too subdued, and because the title story is a psychological horror piece taking place in midsummer, so I wanted a small taste of it to seep into this image.
Not forgetting that the right side of the image would be the front cover, I flipped it soon after, so that the focus would be on the right and that it would still work as a whole.
I also added some guidelines to keep my composition together and flowing, and was switching them on and off right until the end.
From then on it was just a matter of rendering. This is frequently the part I have most difficulty with. I tend to overwork my images and they lose the freshness and dynamic their earlier versions have. A lot of the time, I'm just going back and forth between different saves of an image. I was more careful with what details I added and where with this one, so maybe that's why it proved to be a more straightforward process than usual.
It also turned out to be a true digital/watercolour hybrid: in order to preserve the watercolour textures, I kept laying down shapes in watercolour, then scanning them and adding them to my main image:
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDb4BxCnTDFz3IEoxZ-KGWeccdM0M3z-GTSokURRTKFa_7lrnmBglNEppnYldhpC4ZxeUQlGj87sSl6k2v-8TMdIeMOSDq9jwNzdsXvXeKEFcwENkNK_femN3onyd6MnTtO2QG44WwSw4/s200/brushes1.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl72rY651zUYdfvGDU5CddNnfzErjAtd5aLBD7uX4Jf2PelRCu0vG3s3Blpas8msqaxPwuQ2-Yp5C_hVf8K-5phDFP9JJqREiqSMdnHPOghWJLl8F-r1mhYOwwMKEp8YjKzB2Hek5c0Zo/s200/brushes2.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxi4ZM-ITO80IPW2DWwhqtmCTPcj436jns2k4aSdeUTCtIo-27Iwe8Y03yNfTrY-FVe5_U2Ga32zkPMugOkb-JU7Zcq8RW1RFQjjc9k42hMI8FYZeVXVO76zuR4csLKjXDdWLbU7wBuY/s200/brushes3.jpg)
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(All this from my 'upgraded' workspace, no less) |
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