Hello what's up you all of my hive friends
This is my New participate post in Splinterlands Art Weekly Contest
I am really happy to draw the art and participate in Splinterlands Art Weekly Contest 375
I Hope You Like My Art
Step 1
After the concept felt clear enough, I moved on to a rough sketch focusing only on gesture and pose. At this stage I was not worried about details. I used loose lines to find a dynamic stance where the character leans forward, one leg stepping ahead and the other leg pushing off from behind. This gives a sense of motion, almost like he is rushing into battle or preparing to cast a spell.
The staff was also placed during this stage, because it is a key part of the silhouette. I tilted it slightly backward but still visible, so it frames the character’s body and leads the viewer’s eye upward to the bright flames. The tail curves behind him, following the direction of the movement and helping to balance the composition. Even though the lines are messy in this step, the goal is to capture energy and rhythm rather than clean shapes.
Step 2
In this step I paid attention to the balance of the character. The weight needed to sit correctly on the legs so that the pose felt believable. I refined the hands gripping the staff, the bend of the knees, and the angle of the torso. I also indicated where the scales, claws, and other reptilian features would go, separating them from the smoother surfaces of the clothing.
After finalizing the design, I created a clean lineart layer over the rough sketch. In this step, I focused on smooth, confident lines and clear shapes. I defined the edges of the horns, the individual teeth, the fingers gripping the staff, and the folds of the clothing. The facial expression was refined as well: the mouth is slightly open with visible teeth, and the eye is narrowed, giving him a focused, fierce look.
Step 3
Once the lineart was done, I moved on to adding flat, base colors. I chose a green tone for the skin to emphasize the reptilian nature of the character, with a slightly yellowish underside to mimic the look of certain lizards. The inside of the mouth and the tongue were given warmer colors so that the open mouth stands out against the rest of the face.
For the clothing, I used a combination of red and off‑white tones. The red skirt contrasts nicely with the green skin, while the white shirt keeps the upper body from becoming too visually heavy. The staff’s wooden shaft is a warm brown color, and the crystal at the top is a bright cyan blue. This blue is important, because it contrasts strongly with the orange flames that surround it, creating a vibrant focal point.
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Step 8
After the basic lighting, I focused on the magical effects. I brightened the flames around the staff and added a soft glow around them, making sure they feel hot and energetic. I also slightly brightened the cyan crystal and added a subtle inner glow to suggest that it is filled with magical energy.
Some light from the staff spills onto the nearby areas of the character, especially the hands and parts of the face. This glow connects the prop and the character more strongly, so they feel like a single, unified design rather than separate elements. Small highlights were placed on the claws, scales, and edges of the fabric to make the materials pop.
Final Step
To ground the character, I painted a simple, sweeping stroke of earthy brown beneath his feet. This brushstroke suggests dusty ground or a path and also helps show the direction of his movement, as if he is sliding or running forward. I added a soft cast shadow where his feet touch the ground so that he does not look like he is floating.
In the final stage, I made small adjustments to color balance, contrast, and line quality. In some places, I softened or colored the lines so that they blend better with the painted areas, especially around the flames and the brighter parts of the character. I also checked the overall readability: the viewer’s eye should go first to the glowing staff, then to the character’s face, and finally follow the body down to the tail and feet.
Today Drawing Card Name: Withered Old Sage
Tasoshi Drakamoto's silence gnawed at the Grand Consul. Not knowing what damage Jicarilla the Rime had wrought was dangerous. Not knowing how close the Conclave Arcana stood to uncovering Praetoria's secret was worse.
The time to act had come. Likely, it was already past. The consul advised the suam emperor to send a vanguard in advance of a larger Dragonsguard deployment—something, anything—until the ranks of the ashinach were battle-ready. The emperor, displeased that his councilors and ministers had so miscalculated the threat Portia Nyr and her conclave posed, acceded.
Dragonlord Eric Mancer leads the vanguard. Among his retinue shuffles Orrak Veyl, the venerated professor of draconic studies at Oasis's Imperial Academy. Ancient enough that his scales have dulled to gray and bones jutting like crooked branches, he leans on a staff worn smooth by centuries, his breath rattling like dry parchment.
His mind still cuts sharper than any Dragonsguard blade.
Too many wars taught him that peace demands a price. He binds the small drakoshan vanguard together with wisdom alone, though some worry his heart will give out long before their task is done, what with the way he limps, winces, totters, wheezes.
"Thank you for your time and consideration. Best wishes to all as we move forward together."
Best wishes to all🤗