t1  I like to start with a warm textured background.  My favorite is an mixture of cadmium yellow and burnt sienna. t2  I normally don't do a tight sketch on the board itself but in this case, I was really worried about the anatomy. t3  Final sketch was sealed down with a layer of acrylic spray varnish.  This does two things.  First, it keeps the charcoal from coming up & contaminating the paint.  Second, it allows me to wlipe otu mistakes without losing the sketch in the process. t4  Actually following the rules and starting back to front for once.
t6  Working into the foreground. t7  Initial layers of the background finished. t8  Just getting the basic forms down for the dragon. t9  Finished the first layer of the dragon.
t10  While the dragon dried, I added in the rock and started working on the foreground snow. t11  I forgot to get some snap shots of the main figure while it was in work. t12  Starting to glaze scales.  I had originally developed this "form, then glaze" approach to scales while working on the naga in the painting Sunset and I loved the way those scales turned out.  I never realized how time consuming it would be to cover an area this size with that method. t13  Literally months later, I was done painting scales.
t14  Close up of the finished forms. t15  Photo of the finished painting, complete with color correction. t16