Still using the Sepia Smoke, I begin outlining the individual skulls starting with the main one. When doing the individual skulls, I out- line them starting the outside and working to the center creating the overlapped appearance. I also start lightly mapping out the jawbones, teeth and eye sockets as I go along. Before outlining the skulls in the center, I will do the ones floating on top first since they will appear the closest to the viewer and I want the entire skull to be seen.

After the layout is complete, I begin to “push back” the center skulls. This is done using the Sepia Smoke and spraying very lightly only on the ones I want to appear further back. The more smoke I add, the further back they appear. Also, at this point add extra Se- pia Smoke to the shadows of each skull and leave the almond base for the“high points” (nose, brow, teeth). White highlights will only be used for the closer skulls. Plus, the further back I want them to appear, the less details I will add. Notice I keep the Sepia Smoke off the floating skull; he will have the normal bone colors making him stand out and appear closer.

Once I have all the skulls outlined or mapped out, I start with a Reduced White and build the highlights of the skulls. Remember where your light source is coming from and slowly build up from their on the individual skulls, don’t go to brite yet. I then mix a White and Wicked Raw Sienna mix to establish a bone color and use that to start my shadows on the 3 Main Skulls. Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36