The Institute - house mars
After successfully infiltrating Gold society, Darrow finds himself attending the Institute, a school that trains Golds to become tactical, merciless killers who make the songs of war dance to their tune. The Institute takes place within Valles Marineris, a complex canyon system on Mars. Inside, students are split into twelve different houses named after Roman gods. Each house must fight each other in a battle of wits and violence until one emerges victories. Darrow is placed in House Mars, a castle in the highlands of the Institute, surrounded by trees, hills, and rivers. With nearly two-thirds of the book taking place in the Institute, it is a vital environment to the world of Red Rising.
Making the piece
First Step - collect the words
Once again, I begin by collecting quotes. This is, after all, one of the most important parts of this process. Here are the quotes I used:
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“Clouds drop soft showers. The canyon walls fifty kilometers west and forty kilometers east of our little valley tower six kilometers high. Between them is an ecosystem of mountains, forests, rivers, and plains. Our battlefield. Ours is a highland territory. There rise mossy hills and craggy peaks that dip into U-shaped, grassy glens. Mist blankets all, even the thick forests that lie homespun quilts over the foothills. Our castle stands on a hill just north of a river in the middle of a bowl-like glen–half grass, half woods. Greater hills cup the glen in a semicircle to the north and south.” (152)
“Three walls of our hill castle stand atop eighty-meter stone cliffs. The castle itself is huge. Its walls rise thirty meters. The gatehouse swells out from the walls as a fortress with turrets. Inside the walls, our square keep is part of the northwestern wall and rises fifty meters. A gentle slope leads up from the glen’s floor to the castle’s western gate, opposite the keep.” (152-153)
“Deerling, thinner and faster than the creatures of Earth, graze in the fir woods. Birds circle above. A single raven promises eerie things. Sheep litter the field and goats wander the high rocky hills we run up in a line of fifty and one.” (153)
“The sacred animals of Mars make their home in our territory. Woodpeckers hammer oak and fir. At night, wolves howl across the highlands and stalk during the day through woodlands. There are snakes near the river. Vultures in the quiet gulches.” (153)
“A great floating mountain hovers two kilometers up in the bluish sky. It is Olympus, Fitchner explains, a artificial mountain where the Proctors watch each year’s class. Its peak shimmers with a fairy-tale castle.” (154)
“Two rivers in a forested valley split our northern territory, which is at the edge of a vast wilderness. They form a V pointing southwest to the lowlands, where they eventually form one tributary to the Argos.” (154)
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This was a piece that was especially hard for me to understand. To make sure I was comprehending the words properly, I created these extremely rough sketches while I was reading, testing the placement of key landscape points. These sketches are not the same as thumbnails because I use them to aid in my understanding of the descriptions. This helped me visualize what the environment was before getting to the creative stuff. I recommend spending as much time as you need understanding what is being described before moving on to. Although the sketches are very messy and probably only comprehensible to me, I've added them below for reference on how messy this process can be.
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second Step - thumbnails
When designing the composition for this piece, I was torn between two thumbnails. When confused between different compositions, it can be helpful to develop each thumbnail further to test how the design works with colors. I did this with two of the thumbnails until I felt more confident with one of them.
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Third Step - Developing colors + details
Since I had explored this piece with color and I was working with a color theme I was comfortable with, I replaced the greyscale part of the process by using base colors and then continued rendering. To create depth in this piece, I used the same technique as seen in the Mines of Mars piece but in color rather than in greyscale. Objects further in the background (like the canyon wall) are lighter while objects closer are darker (the deerlings). Another tip for this technique is to use the color of the sky to lighten farthest background objects. This makes them seem like they are fading due to distance and contributes to creating more depth.
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watch the painting process
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Below you can watch a speed paint video of the whole drawing process of making this piece.
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