Hey, Hive! Did another [Splinterlands]() fan art. Why? Well, why not. Also, the creatures in the game are epic and I love the references to mythology and folklore from all across the world! Like this one from the undead Splinter: # CURSED WINDEKU *** ![Cursed Windeku](https://images.ecency.com/DQmcqNDD8RHpAu7zuZDF8VAguCPoTCpRW7UUZhH16yaUYfH/cursed_windeku_small.png) Wendigo is a monstrous being from several Native American tribes to the north of the USA and Canada. This creature is a parasitic spirit, infecting humans and causing them to commit cannibalism in order for the Wendigo to absorb the power of the man eaten. ### » CONCEPT *** ![1](https://images.ecency.com/DQmbEJ2FbgfcWeeF2MVqU3X3p9DMQk8hHY1XtoFSmypEbTS/1.png) As a result of the folklore and also the tale of Kronos devouring his children, I decided to create the sketch influenced by Goya's "Saturn Devouring His Son" painting. It seemed very fitting! ### » FLATS *** ![2](https://images.ecency.com/DQmbgeUGCvgwZpNc3AABRU6U3RzQM7J9ZNNnwbnaFdXFNN8/2.png) Taking the base colour of the original Cursed Windeku artwork, I adapted a palette of both warm and cool colours. Purple is fascinating in this regard. If you get the right shade of it, it could be perceived and indeed used as both warm and cool at once. Otherwise, you can just play with reddish purples and blue-ish purples to get the balance. ### » SHADOWS *** ![3](https://images.ecency.com/DQmed2qCvrvhjbb36awDrdFELrMk64oFBCvJxhBm8iD9yzn/3.png) The palette is in reserve for this step, but it's good to figure it out first thing before you start painting so that there isn't a sudden arrest to the creative process, a loss of momentum if you will. Nothing as frustrating as not being able to just keep going. But before I laid in those extra colours, I needed to bring out the body's definition using shadows. ### » LIGHTING *** ![4](https://images.ecency.com/DQmYD8p1BCRVDYpeXCV2Uw1VBdpigd8WkHDsahZJCHH7WNV/4.png) Then it was time to play out the lighting. I went with the fail-safe slightly off top-down lighting direction because it's great for that classic dramatic feel and puts in a suggestion of the painting taking place where there is no natural light. I used an orange hard-light outer glow effect on the layer to make the light blend better with the skin and to cause the suggestion of curvature on the body. When the lighting was done, and I erased where the light was blocked, I brushed in various hues of purple and blue using a soft airbrush. Also, on a seperate layer with low opacity, I brushed in some green. And don't forget reflective lighting, which I put in with magenta! It really brings a piece together. ### » GIFNESS *** ![](https://images.ecency.com/DQmWWKxWScYe5jzvPaCv1pjVoi6tRGGHNTYKHY48K7DpiUz/ezgif_4_d097b266eb.gif) *** *** Thanks for stopping by and reading and supporting! [![art_by_anike_kirsten_banner.png](https://images.ecency.com/DQmaDjkdLjcs3r5LygVhmtPPhcWWG2yrW17vQY1Mzmcs7XG/art_by_anike_kirsten_banner.png)](https://pikkunstig.wordpress.com/) • Made in Krita. Copyright © 2022 Anike Kirsten • *** *** ## | [Art Portfolio](https://http://pikkunstig.wordpress.com/) | | [Contact](https://pikkunstig.wordpress.com/first-contact/) | Commissions Open | [Prices](https://pikkunstig.wordpress.com/prices/) | ***

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