The Making of the “Avalon Revisited” Cover
Ever wonder how I create my digital art? I’ve been asked a number of times how I do what I do with photographs and a computer, so I thought I’d share a little about my creative process with you. I began my journey into digital art 5 years ago, when I turned a photograph I took of a tree in my parents’ backyard into a dramatic, surreal piece of art in Photoshop. I’ve actually been experimenting with my photography in Photoshop since I got my hands on Photoshop 2.0 (around 1997), but in 2005, after being a member of the DeviantART community (a wonderful source of inspiration) for about 2 years at the time, my photo-manipulating/digital art creations went to another level.
My process is 1 part planning (utilizing my photographic composition & design knowledge) and 9 parts experimentation. When I say “experimentation”, I don’t mean I go crazy trying anything and everything until I get a result I like. Okay, maybe a little! I apply a lot of techniques that I’ve taught myself over the years to see if they’ll work for a particular piece. I also often come up with completely new techniques or ideas. Each project goes through an evolutionary transformation and manifests on my screen by fusing many elements together to create a unified work of art.
Here I will outline a very basic, very abbreviated version of my digital art creation process, using the “Avalon Revisited” cover art as an example…
Step 1: Found photos, removed subject from background, arranged photos on canvas.

Here you see a public domain photograph of the Houses of Parliament found on the WikiCommons website. Normally, I try use my own stock of photographs for most of my art, but since I’ve never been to London to take a photo myself, and because the project required it, I had to settle for this very nice license-free stock photo. You also see a carefully cut-out photograph of our mysterious steampunk model.
Step 2: Added some “steampunk” elements and experimented with layer blending options.

I found the clockwork, gear and cog photographs on the WikiCommons site and cut them out from their respective backgrounds. You can see some layer blending has been applied by the almost negative effect of the clockwork and the variegated color on the cog. At this stage I also smoothed out the pixelization and digital noise from the photo of the model.
Step 3: Texture!

Added clouds and an overlay texture image, adjusting opacity and probably playing around with the layer blending options again.
Step 4: Added coil, clock and more texture

Added more texture using clouds and a grungy photo of a rusted metal surface. Erased the center of the rust image to allow most of the art to show through, leaving a little to frame the edges. I also added the coil and clock face for some more steampunk flair.
Step 5: Flatten and Filter

When I get to a point where I am happy with the layout and placement of all the elements, have the color adjusted to my liking and just the right amount light density and contrast, I flatten the entire image. With the flattened image, I do some more color, levels and contrast adjustments before playing around with special filters.
Step 6: Filters and Backtrack Adjustments

I use Photoshop filters or additional plug-in filters to achieve a more polished look. For this piece, I added a vignette filter that also brightened the center a bit. Because digital art can often be moody and unpredictable, I often went back to the un-flattened file to make adjustments. Here you can see that the cog on the left, inside the clockwork, is more pronounced/constrasted. I also resized the subject and nudged her a bit to the left. These were just a few of many many adjustments. I’m quite the perfectionist, and while sometimes that can become an obstacle, thankfully in this case that trait helped make the final image a success!
Step 7: Final image

It’s finished! After many more adjustments to the final flattened image, I decided it was ready for print. I sent the final version off to the publishing company and the author, who were both very pleased with the final result.
Step 8: Final Cover Design

InDesign was used to lay out the final design. I created all the design elements except for the publishing company’s logo and bar code. The industrial-looking metal placard and screws were created from scratch in Photoshop. This shows the full image stretching on to the back of the book.
*******
It seems so simple when I write it out like this. In reality, this particular project lasted many countless hours scattered over the course of a month and a half. But it was definitely worth it, and I’d do it again if the opportunity presented itself!













As I mentioned in a previous post, I had the pleasure of developing & designing the official websites for authors 









I am a photographic & digital artist inspired by myth, dreams and nature. My work is infused with the magic of the natural world and of the unseen realms of myth and imagination.
