LINEWORK
In this phase the design should convey the intent behind the subjectivity chosen.
Lines can do 5 main things to convey depth.
They can overlap, show asymmetrical relationship, contours (to turn a form), show the construction of the form, and show the weight. These fundamentals can be practised and used consciously in your sketch and drawing phase. Below I have concentrated on thinking in 3D and in the shape language of 2D, flitting back and forth from each mode of thinking like a boxer dances or switches stance. Breathe, be calm and execute the line you saw in your minds-eye and you will train your visualisation muscle. Draw with the whole arm, not only the wrist. These ways of thinking are in essence, very abstract ideas, whether you are a digital or traditional artist, they are very powerful ideas to train to become a great artist. Although, it is very conscientious to say such things and often disregarded by beginners to think in these ways, I mean REALLY think on multiple levels, it is essential. Do not overwhelm yourself in the symbols related to the object you draw either, think of the relationship of shapes they make at all the odd angles you can portray such objects (when drawing from imagination). Relate these shapes from the big, medium and the small and break up the evenness of a silhouette. Try to plan for a graphic read of 3 or 4 tones(values).
This description may be beyond that of a beginner but these are artists terminologies I encourage you to get to know, and know well!
This tutorial is not supposed to sound nice and pleasing because it is known truths of making visually captivating work. I have learnt from the failures of old masters and from my own mistakes, critiqued by other industry professionals.
COLOUR FLATS
The khaki theme for this character seemed to fit perfectly. I am not too extravagant with colour here. I try to be muted with the saturation as it works with the darker value background. I suggest a mid-tone on the forms to show them "turning in space" and indicating some volume. I have also indicated areas when contact shadows and occlusion shadow will be.
LIGHTING
Drive the point home and create a visually pleasing graphic read. The rim light falls neatly over the forms from behind the character and highlights some of the planes of her structure, this adds a lot of volume and creates a visually striking feel. The white face paint is slightly warm in tone, and slightly cooler in the shadow cast upon it from the helmet. Its always nice to have local white values of objects, that fall into the shadow areas. It gives the viewer an idea of the temperature of light. Do not be afraid to use a reference image to work out different lighting scenarios. Remember to squint down your eyes to filter out all the extraneous noise/ distracting colours so you can make sure the image is READING. Stay as zoomed out as possible while working, is another unappreciated tip I see many artists neglect!
Bring life to your character or bring a mood to them with the lighting.
Good luck with your creations!
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Kev