THE WORLD WE CREATE

EL MUNDO QUE CREAMOS

by Alex Vigo @alejandro_vi_go_11

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(Automatically translated from Spanish)

Introduction

My illustration was based on the world my dog and I created, that everyday world, a special world. My English bulldog was named Olga and lived with me for 12 years. I loved her, I love her, and I will love her deeply all my life. And although she's no longer with me because we lost our battle with cancer, my love for her remains intact. I lost her a little over a year ago, and since then, I've made several drawings and paintings of her. That's why I drew inspiration from us for this illustration.

I remember that I loved drawing and painting from a very young age, but at some point in my youth I stopped and started again when Olga came into my life. She brought joy, light, and color to my life, restoring my sensitivity by experiencing a love as pure and unconditional as the one our pets give us.

For my illustration, I thought about uniting that boy I once was and Olga. They no longer exist. But I thought about what would happen if they were united in a fantasy illustration, almost like a colorful dream filled with the things we both loved. So, the idea for this illustration was to answer the question: What would happen if that boy who loved to draw lived with his dog, whom he loved so much, in a world full of color and fantasy?

Materials

Materials for the idea phase:
- Inspiration and reference photos (I'll show the moodboards later)

Materials for the sketching phase (photo 1):
- Sketchbook
- Faber-Castell 9000 HB Pencil
- Draft
- Staedtler metal pencil sharpener
- Albanene paper or tracing paper
- Adhesive tape
- Pentel colored pencils (I only used shades of yellow, pink, and blue)
- Cutting board
- Square without bevel
- Cutter or scissors

Materials for the final illustration (photo 2):
- Canson Moulin du Roy watercolor paper, 300 gsm, 100% cotton, cold pressed, 24 cm x 32 cm
- Scotch blue masking tape
- Wooden base to fix the paper
- Winsor & Newton, Daniel Smith and Schmincke watercolors:
Indigo (W&N)
Cerulean Blue, Chromium (DS)
Dioxazine purple (W&N)
Quinacridone Rose (DS)
Brillant Opera Rose (Schmincke)
French Ochre (DS)
Aqua Green (W&N)
Paynes's Gray (DS)
Lunar Violet (DS)
Potter's Pink (W&N)
- Brushes: 2 Escoda Perla brushes number 10 (one new and one old), a straight brush from the Jacksons brand size 1/2'', and a fine double zero brush from the Rodin brand
- Water container and a rag
- Disposable tissues
- Pentel colored pencils, Polychromos by Faber-Castell, Prismacolor and Luminance by Caran D'Ache:
White 001 Luminance Caran D'Ache
Pentel White 301
Cream 914 Prismacolor
Terracotta 186 Polychromos
Pentel Yellow 309
Cinnamon 189 Polychromos
Blush Pink 928 Prismacolor
Salmon 130 Polychromos
Light Purple Pink 128 Polychromos
Fuchsia 123 Polychromos
Crimson 134 Polychromos
Lilac 956 Prismacolor
Mauve 249 Polychromos
Dark indigo 157 Polychromos
Indanthrene blue 247 Polychromos
Aqua green 353 Pentel
Light ultramarine140 Polychromos
Skybue 146 Polychromos
Middle phthalo blue 152 Polychromos
Light Aqua 992 Prismacolor
- Staedtler moldable eraser
- Super Point Derwent Pencil Sharpener
- Watercolors with glitter (I don't know the brand, a friend gave me the palette)

Materials for editing the final illustration:
- Scanner
- Laptop with Adobe Photoshop

Materiales para la fase de idea:
- Fotos de inspiración y referencias (los moodboards los muestro más adelante)

Materiales para la fase de bocetos (foto 1):
- Sketchbook
- Lápiz HB Faber-Castell 9000
- Borrador
- Sacapuntas metálico Staedtler
- Papel albanene o papel de calco
- Cinta adhesiva
- Lápices de color de la marca Pentel (únicamente usé tonos de amarillo, rosa y azul)
- Tabla de corte
- Escuadra sin bisel
- Cutter o tijeras

Materiales para la ilustración final (foto 2):
- Papel para acuarela Moulin du Roy de Canson, 300 grs, 100% algodón , Cold pressed, 24cm x 32cm
- Cinta azul para enmascarar Scotch
- Base de madera para fijar el papel
- Acuarelas Winsor & Newton, Daniel Smith y Schmincke:
Indigo (W&N)
Cerulean Blue, Chromium (DS)
Dioxazine purple (W&N)
Quinacridone Rose (DS)
Brillant Opera Rose (Schmincke)
French Ochre (DS)
Aqua Green (W&N)
Paynes's Gray (DS)
Lunar Violet (DS)
Potter's Pink (W&N)
- Pinceles: 2 pinceles Escoda Perla número 10 (uno nuevo y uno viejo), un pincel recto de la marca Jacksons tamaño 1/2'', y pincel fino doble cero de la marca Rodin
- Recipiente para agua y un trapo
- Pañuelos desechables
- Lápices de colores Pentel, Polychromos de Faber-Castell, Prismacolor y Luminance de Caran D'Ache:
White 001 Luminance Caran D'Ache
White 301 de Pentel
Cream 914 Prismacolor
Terracota 186 Polychromos
Amarillo 309 Pentel
Cinnamon 189 Polychromos
Blush Pink 928 Prismacolor
Salmon 130 Polychromos
Light Purple Pink 128 Polychromos
Fuchsia 123 Polychromos
Crimson 134 Polychromos
Lilac 956 Prismacolor
Mauve 249 Polychromos
Dark indigo 157 Polychromos
Indanthrene blue 247 Polychromos
Aqua green 353 Pentel
Light ultramarine140 Polychromos
Skybue 146 Polychromos
Middle phtalo blue 152 Polychromos
Light Aqua 992 Prismacolor
- Borrador moldeable Staedtler
- Sacapuntas Super Point Derwent
- Acuarelas con glitter (desconozco la marca, la paleta me la regaló un amigo)

Materiales para edición de la ilustración final:
- Scanner
- Laptop con Adobe Photoshop

Phase 1. The idea

As I mentioned earlier, my idea was to bring together my dog and myself in my childhood. In reality, they never coexisted, but somehow her presence in my life brought that child back to life. I wanted to depict a scene in a dreamlike world, with fantasy elements and lots of color. To do this, I looked to images like surrealist art for inspiration, and also to drawings, since I wanted something simple, cartoon-style, and with a lack of realism.

At this point, I only knew I'd like the scene to have some clouds and a rainbow. First, to give it a dreamlike atmosphere. Second, to represent when it's said our pets cross the rainbow bridge to leave us and go to heaven. And finally, to make it look colorful and full of fantasy, like the happiness I felt when I had my dog with me and when I rediscovered my love for drawing and painting.

Phase 2. The sketches

To begin sketching, I first began by writing down what my bulldog represented in my life: his physical characteristics, specific to his breed, and his personality. I also wrote about what I would like to represent from my childhood, my physical appearance, my tastes, and personality. I also wrote about our relationship and how important it was to me.

From there, I started making very small sketches in my sketchbook, quick and without details. I wrote down what I liked about each one on the side. I made four small sketches, experimenting with the horizontal and vertical position of the page, trying out different placements and proportions of the main characters, as well as the setting and details.

Finally, I made a fifth sketch, in which I combined what I liked most from the four previous sketches. Then I made that same sketch a little larger to better define the elements I wanted to draw in the illustration.

Phase 3. Starting to draw the illustration and defining the colors

I defended the general sketch and began drawing with references to each of the characters, both the English bulldog and the boy. I tested positions, postures, and how they would look. At this stage, I like to draw the elements on tracing paper. This way, if I want to change something about their appearance, I don't have to draw from scratch again; I just have to trace. Also, by having the elements separate, I can layer the drawings and move them around until I find the location I like best, since tracing paper, being translucent, allows me to draw on layers until I find the location I like for each element.

At this stage, I draw the elements in their most general form because I'm most interested in the composition. It's important to try to draw the elements at actual size from the start so that this technique of continually tracing my own drawings works.

For the English bulldog, I based it on one of my reference photos and then modified it to give it a more cartoonish or childlike look. I simplified and exaggerated its appearance. With the child, I tried out a few positions, and at this point, I thought about drawing him wearing a cap because I loved wearing caps as a kid.

3.1. First approach to drawing

Then I started drawing the clouds, the moon, the sea, and I was considering where I would place the butterfly brushes. I thought I'd draw stars on the dog's fur.

3.2. Modifications to the drawing

Although I liked the first sketch, I decided to modify the position of the bulldog's head so it wasn't in profile but rather a three-quarter view, so that his features were more visible. I also decided to modify the child's appearance because it didn't give me the dreamlike look I wanted. For this reason, I decided the child would look like a little wizard. Instead of a cap, I would use a sea snail hat, and I also gave him a cape.

I continued detailing the clouds, the moon, the brushstroke butterflies, and thought about adding a waterfall coming out of the bulldog's mouth.

3.3. Final drawing at actual size

With the composition more or less defined, I cut the tracing paper to actual size again, refined the drawing even more, and thought about how the butterfly wings would simulate eyes. I also thought about sparkles or shine coming out of the child's brush. And this is where it occurred to me that I would like some elements to appear to "emerge" from the illustration. And to emphasize this idea, I would add a simulated frame.

I was very happy with the final drawing. I liked the composition and feel I achieved that dreamlike, surreal feeling I had been striving for from the start. I also liked it because all the elements I added were there for a reason and had meaning to me.

3.4. Defining the colors for the illustration

I then used tracing paper again to place it over the final drawing, and I used colored pencils to color on that paper and define the colors of the illustration. This way, I avoid having to color over the final drawing or redo a new drawing.

I did this simple coloring to create a general color map that would serve as a guide when I began painting with watercolors. I used Pentel colored pencils because they have good pigmentation and, because they have hard leads, they don't bleed as much on the tracing paper.

Stage 4. The final illustration. 4.1. Transferring the drawing to watercolor paper

With the final drawing and its colors defined, I knew I had to start with watercolors and then use colored pencils. Therefore, I used two colored pencils to transfer my drawing to the watercolor paper. I used Fuchsia and Middle Phtalo Blue from Polychromos. This way, I avoid using graphite, which would make the lines more noticeable, or that when using watercolors, the colors could become muddy and create grayish tones.

I used the blue pencil for the darker areas or where there would be more blue or similar tones. And I used the pink pencil for the bulldog because there would be more pink and coral.

I chose Moulin du Roy paper because its texture is very fine and smooth, which would allow me to work well with both watercolor and colored pencils and create small details.

To transfer the drawing, I simply placed my final drawing in a brightly lit window. I placed my watercolor paper on top of it and used colored pencils to draw on it. I then secured the paper to a wooden base with blue masking tape. I like this tape because it comes off easily, doesn't damage the paper, and leaves very neat lines when removed.

4.2. Painting with watercolor (the background)

I started by painting the entire background. This was because I needed a very dark background in the upper half and wanted to have it well-defined from the start so I could paint the characters with the correct color tone without having to add multiple layers. For the top segment, I used a combination of indigo and a bit of dioxazine purple. I mixed both colors directly on the paper to create subtle color variations. The consistency was like milk; I needed a deep color because in later stages I would draw stars and sparkles, and since they were lighter, I needed a strong contrast.

I didn't use masking fluid, so with my brush, I had to avoid the areas where I didn't want the thick mixture of blue and purple to appear. To do this, I used two identical brushes, one older and one new. I used the new one to paint in a defined manner because the brush has a sharp tip since it's new. When I reached a larger area, I used the old brush to use more paint and make broader strokes without fear of staining other areas.

About halfway through the illustration, I blended that mixture of purple and indigo blue with water because once it dried, that's where the sea image would begin. For the lower half, I used a mixture of indigo and cerulean blue. In this area, I didn't have to avoid very defined areas, so I used my old brush. I really like it because the bristles have become very soft with use.

For the sea, I mixed indigo and cerulean blue using the wet-on-wet technique to create lines that simulated the movement of the sea. In some areas, I used my dry brush to absorb some of the paint and create lighter strokes.

In the area where the waterfalls emerge from the bulldog's mouth, I applied water and then some lines with a bit of cerulean blue to give a sense of movement. At the end of the waterfalls, I applied a little more water to blend them, and with a tissue, I absorbed the excess color to create a foamy effect where the waterfalls meet the sea.

Comencé pintando todo el fondo. Esto debido a que necesitaba un fondo muy oscuro en la mitad superior y quería tenerlo bien planteado desde un inicio para poder pintar a los personajes con el valor correcto sin tener que estar dando muchas capas. Para el segmento superior usé una combinación de color índigo y un poco de dioxazine purple. Ambos colores los mezclaba directamente en el papel para que hubiera variaciones sutiles de color. La consistencia era como de leche, necesitaba un color profundo porque en etapas posteriores dibujaría estrellas y y brillos y al ser más claros necesitaba un contraste potente.

No usé liquido enmascarador por lo que con mi pincel tenía que ir evitando las zonas donde no quería presencia de esta mezcla espesa de azul y morado. Para ello, usé 2 pinceles iguales, uno más viejo y uno nuevo. El nuevo lo usaba para ir pintando de forma definida porque el pincel tiene la punta afilada al ser nuevo, y cuando llegaba a algún área más grande utilizaba el pincel viejo para usar más pintura y hacer trazos más amplios sin miedo a manchar otras áreas.

Cerca de la mitad de ilustración esa mezcla de morado y azul índigo, la difuminaba con agua porque una vez seca es donde comenzaría lo que representa un mar. Para la parte de la mitad inferior usé una mezcla de color índigo y azul cerúleo. En esta zona no tenía que evitar áreas muy definidas así que usé mi pincel viejo, me gusta mucho porque con el uso las cerdas se han hecho muy suaves.

Para el mar, iba mezclando el azul índigo y el azul cerúleo con la técnica húmedo sobre húmedo para crear líneas que simularan el movimiento del mar. Y en algunas zonas, pasaba mi pincel seco para absorber un poco la pintura y crear algunos trazos más claros.

En la parte donde se encuentran unas cascadas que salen de la boca del bulldog apliqué agua y luego algunas líneas con un poco de azul cerúleo para dar una sensación de movimiento. Y al final de las cascadas aplicaba un poco más de agua para difuminar y con un pañuelo desechable absorbía el exceso de color para crear un efecto de espuma en donde las cascadas tocan el mar.

4.3. Painting with watercolor (bulldog)

With the background ready, I began painting my dog. I left the top part practically unpainted, and from the middle down, I applied quinacridone pink. I first added clean water and then painted with the very diluted pink so that, using the wet-on-wet technique, there would be subtle transitions. Once the pink paint was dry, I applied a layer of French ochre using the same technique.

I also took the opportunity to add a little indigo to the lower "clouds" and used the wet-on-wet technique again. This technique creates a diffuse effect, which is exactly what I wanted for these clouds, which would be very colorful.

I added a couple more layers to the bulldog with the same colors I'd already used. These layers helped shape the dog's body and shape.

4.4. Painting with watercolors (the boy and the butterfly brushes)

I started by giving the whole dog a very light coat of Opera Rose, a very bright pink. I gave it a very light coat to highlight the color since it looked a little dull.

I painted the upper clouds using the wet-on-wet technique using indigo blue, cerulean blue, dioxazine purple, quinacridone rose, and opera rose.

Now it was also time to start painting the boy. For his skin, I used a mix of French ochre and opera rose. For his hair, I used indigo blue with a bit of Payne's gray. For his clothes, I used cerulean blue and indigo blue. For his snail hat and cape, I used aqua green. Here, I used my new Escoda Perla size 10 brush. I used a wet-on-dry technique throughout the character.

I also painted the base of the butterfly brushes using aqua green for the wings. For the brush that forms the butterfly's body, I used French ochre with quinacridone rose and a very small amount of cerulean blue.

I added a couple of extra layers to the dog's body and head to further define its structure and volumes.

This entire application of watercolors in sections began to form the basis of the illustration. It's a stage where you work here and there to unite the elements and colors.

4.5. Starting to use colored pencils: yellow color

With the watercolor painting phase complete, it was time to use the colored pencils to bring the multicolored clouds to life. I started with yellow and applied it over the base I had previously worked on with watercolor using the wet-on-wet technique.

4.6. Applying color to multicolor clouds

After the yellow, I applied various shades of pink and blue to create the multicolored clouds. At this stage, it's important to be patient and apply the color gradually so as not to saturate the paper and so the colors blend subtly. I prefer to apply many layers with light pressure from the pencil on the paper, as if I were brushing the pencil across the paper.

In this way, by only using shades of yellow, pink and blue, you can create oranges, violets and greens without having used pencils of those colors.

4.7. Increasing color saturation

I continued working on the multicolored clouds to increase the color saturation. It's important to consider the texture we want to give to the areas where we apply the colored pencils. I like to apply them in different ways depending on the drawing or illustration. This time, I made all my movements vertically.

To help blend, I usually start from a point and release pressure from the pencil towards the color I want to blend.

At this point, I had a more concrete base for the illustration in terms of color and elements. Therefore, I decided to remove the masking tape since I also needed to work on the elements that seemed to emerge from the illustration.

4.8. Remove masking tape

Without the masking tape, I drew the elements that would "pop" out of the illustration. This would serve as a guide when applying watercolor to those areas.

4.9. Drawing elements that "pop out" of the illustration

I painted the elements that emerged from the illustration with watercolor and then with colored pencils, just as I had done before. At this point, I wanted the masking tape line to be less noticeable.

4.10. Increasing saturation to elements

At this point, I continued working on the elements that would emerge from the illustration. I also took the opportunity to refine the shape of the butterfly brushes.

Once again, it's a matter of working in layers and moving around the illustration to make the elements blend together. I touched up the boy, the dog, the moon, and all the clouds.

4.11. Starting to detail the moon, butterflies and the child

In this part, I continued adding layers to everything. But I took the opportunity to define the boy's snail hat and add details to the butterfly brushes (eyes on their wings). Here, I paid more attention to painting the moon and used lunar violet and Potter's pink combined with a bit of indigo. I painted with these colors to give the moon a grainy or mottled look and to give it tones similar to those of the clouds in that area.

4.12. Adding more details to the dog and adding some decorative elements

At this point I worked more on the bulldog's face, added the stars to its fur, and continued adding layers of color to the clouds as well as the butterfly brushes.

I also worked with white pencil on some effects on the waterfalls and water to simulate the movement of the water around the dog's paws.

And I started adding the sparkles that would come out of the child's brush. To do this, I started by using shades of blue, pink, and yellow to tone down the darkness of the background. Then I used a bit of white to simulate the sparkle.

4.13. Detailing the child's face and working more on the decorative elements

With a very sharp dark indigo pencil, I detailed the boy's features and hair. I continued adding layers of color to all the elements and refined all the shapes.

I emphasized the clouds, the bulldog, the butterflies, and the colorful sparkles that come out of the child's brush. It takes a lot of patience to detail and unite all the elements of the illustration.

Finally, I added some stars to the background. I used the white Luminance pencil from Caran d'Ache because it's very creamy and provides great coverage. I just drew a few dots here and there, some smaller and some larger.

4.14. Mask again to apply glitter watercolor

It was time to paint the mock frame, and for that I was going to use a watercolor with pinkish copper glitter. To avoid having to paint everything freehand and achieve a neater finish, I decided to use masking tape again. I cut some pieces of this tape and carefully applied it so that it would stick down where I wanted neat edges. In the areas where I had already applied colored pencils, I gently applied the tape to avoid lifting too much of the color. I knew that using tape would lift some of the colored pencil work.

4.15. Painting with watercolors and glitter

Glitter watercolor works the same as regular watercolors, but for the effect I wanted on the frame, I used a very thick consistency. I did this to prevent it from running under the tape if I didn't stick it properly in some areas if I used too much water.

I applied the glitter watercolor with a straight brush to move faster and achieve a uniform finish. I let the glitter watercolor dry thoroughly and carefully removed the masking tape. It was time to see where I should touch up the illustration, as it had lifted slightly from the previous work done with the colored pencils.

4.16. Final touches

And after several layers of colored pencils on all the elements, I decided to shade some white stars with blue and purple. And finally, I polished the entire drawing again. And with that, my illustration was complete.

While the original illustration would be mine, I always like to have a digital record of everything I do. Therefore, I would digitize and edit it in Photoshop.

Phase 5. Digitization and editing of the final illustration

I scanned my illustration at 600 dpi. Then, on my laptop, I used Adobe Photoshop to retouch the colors. When editing, I set my original illustration aside because I wanted the colors to appear on screen exactly as they did in the original illustration.

I also slightly edited the edges left by the masking tape, and that's all I did. I think it's always good to have a digital version of everything we paint or draw.

Final comments

It was a multi-stage process and required a lot of patience, but I liked the final result because all the elements and colors represent various aspects of my dog and me. I was satisfied with the illustration because it was what I wanted to do from the beginning: something very colorful and a dreamlike scene.

This illustration represents the world that Olga and I created for 12 years, a world that I miss very much, but that I carry in my heart and in my memories.