Triptych of 11″x14″ Aquabord panels
Dark brown ink, drawn with a crow quill nib and then shaded with a wash.
This piece had a longer evolution than most of my artwork. First came the decision to paint an ink piece for Clockwork Alchemy, and I wanted it to be dramatic, so I decided on a triptych. One of my dear friends is often a huge source of inspiration, and she suggested a crashing airship. I had been thinking about the sweeping panorama paintings of the Victorian, so I started working out how to lay out the landscape.
One of the things I always keep in mind when creating multiple-panel artwork is the balance of composition between each panel and all panels. That is, all the panels together should create a coherent image, and each panel individually should create a coherent image. So, on the right is the close-up figures, looking away to the left. In the middle panel is the tree and just a hint of the crash, so it has a connection between what is close and what is very distant. On the left is distant view, with the crashing airship. Similar angles and lines are mirrored across all panels and on each panel, helping to pull them all together. The movement from close to distant helps to create flow between the panels and prevent them from looking identical.