March 29, Graphic Design, Magazine. 2D Artist magazine is dedicated to the artists around the world and cover 2D tutorials and projects, latest techniques, tricks,articles and interviews. This is 2D Artist magazine’s march issue. 2dartist is an e-magazine. For lots more tutorials and exclusive articles, visit distributed as a downloadable PDF and on. Computer grafic art magazine. 2D Artist - Issue , July May 1, | Author: kathia | Category: N/A. DOWNLOAD PDF - MB. Share Embed.

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Free download 2DArtist – Issue – March - magazine, book reading online without registration!. To enquire about subscriptions, contact: [email protected] Distribution 2dartist is an e-magazine distributed as a downloadable PDF and on digital. Title: 2D Artist - Issue - November , Author: Kahshan Lau, Name: 2D Artist Setting up your PDF reader For optimum viewing of the magazine it is.

Many artists working in the film and videogame industries tell us about the importance of not only working quickly, but having the ability to adjust scenes and create variations at the drop of the hat. In this issue of 2dartist, we take a look at the techniques and processes to speed up and improve these skills! Geoffrey Ernault proves that with practice comes speed He started freelance work about three years ago and is now working at Guerilla Games as a concept artist. He discusses his career and the THU festival.

Create a new layer for the variation above the light or dark mass-shape layer, and then link it by Altclicking between the two in the Layers window. Being lazy a. I am now in need of another custom brush, but this time it will be used for making repetitive objects less tedious to paint; the condensed ruffles at the top of the blouse, in this case.

2D Artist - Issue 103, July 2014

On another small blank document, I paint the shape of one ruffle, and define that as a brush preset. It needs to look organic and natural. Color correction: Throughout these steps, I am constantly jumping all over the place in the painting, going back and forth, refining, and repainting.

At this point in the painting, I realize that the skin is looking a bit too yellow when compared to the color sketch I did in step one. In order to fix this, I create a new layer and set it to Color mode on a low opacity. Background check: The background was feeling sort of flat and uninteresting, so I change it at this stage. I add some warm tones where I want the cools to pop and some light tones where I want dark shapes to pop. Simplicity — or simplifying, rather — is the key to successful compositions.

Paintings can have complex narratives and a lot of objects or figures, but if they are not arranged or grouped well, it will be too chaotic and the viewer could become overwhelmed. Values, on the other hand, are incredibly important. If your values are flawless, you can use practically any colors you want and your image will still look good. Custom skin brush: Using the same steps as before, I create a brush that can be used to apply subtle texture to the skin.

A few simple dots on a small blank document, enables scattering and a bit of color dynamics all found in the Brush window , and the brush is ready to be used. The magical brush: The great part about the skin brush I created in the previous step is that it can be used as a hairstrand brush if the settings are tweaked. Simply turn off scattering, lower the spacing significantly, and set the Jitter size to Pen Pressure.

And voila! For creating different densities of hairstrand brushes: Last piece of the puzzle: The composition still does not feel complete to me at this point. While in the flipped state, I try adding a few more shapes to the composition: One more piece of red fabric in the upper corner to keep our eye within the composition, and floating air particles to add small elements and give an even greater sense of motion to the scene.

I flip the canvas back to its original orientation to see if I am satisfied with the changes I have made. The finishing touches: The last things I do to my paintings are routine for almost every single painting I create. You can then make adjustments to the overall values. I then put my signature on it and call it done! Discover how to capture the mood with interesting lighting effects, as Geoffrey Ernault shares his speed painting techniques. Digital art for games Sabin Boykinov reveals what exactly is was about the digital medium that fueled him to break into the industry!

Tatianna Kolobukhova SneznyBars reveals her painting process for creating characters with dynamic poses. Don't know why I waited before signing up as this magazine offers an incredible insight to the world of 2D art. Subscribe online at www.

You will receive 12 issues in a year. Minimum subscription term is 12 months. If at anytime during the first 60 days you are dissatisfied, you can email us support 3dtotal. The PayPal recurring subscription can be cancelled at anytime. Prices and offers are subject to change. Discover Photoshop techniques to depict a scene lit at midday In this tutorial, I will create a scene that will be used as the base for three other moods with the same content. The first scene depicts a room in the early morning, and will change as the time of day and lighting shift, keeping the same subject.

Working in videogames requires you to work quickly, and mood changes like these happen often. I will show you how I organize my layers to make this process easier and more efficient. I will also teach you the techniques needed to make these changes in a short period of time. Sometimes I use photos as a reference or start from scratch. In this case, I want to make a quick sketch to set the overall mood and build up the scene with all the elements that will help develop the other moods.

I thought an abandoned room would work with what I wanted to achieve, with windows big enough to add natural light and key elements that will help distinguish the other moods.

Color base and perspective: Following the previous sketch, I start preparing the piece by adding the color base and perspective lines that will put all the elements into context.

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I group the perspective layers, so that I can easily hide them. I work with big brushes with some texture, focusing only on tone and values. I try not to get crazy with shadows and light at this point, as I will apply them later. Some elements may change, but I try to stay as close to the original image as I can. I switch the image to black and white several times to see if the values are correct. Layer setup: This is one of the most tedious, yet important, steps.

The floor, background, window frames, walls and so on, will be cut and pasted in a new layer. I also make sure I name each layer so that they will be easier to identify when I have a large number of them. Now that everything is well organized and separated, it is very easy to render and have full control of every single element on the screen. Polishing and texturing: I like to paint with long and big brushstrokes, so I use the Lasso tool to make sharp edges and leave the inside loose with random brushstrokes.

I never paint on the same layer, instead I use Clipping masks so I can paint only the visible areas of the layer underneath, keeping its transparency and shape. The original layer remains unaltered so. I can come back to its original state whenever I want.

I can reshape and edit the base layer, and the changes are reflected with the clipping mask.

In addition, I can have more than one clipping mask on the same layer. The initial sketch to set the first mood, and building the scene with all the elements I want to show. At this stage, I also add some photo textures. I only use them to add color information and some color noise. Adding the color base and perspective lines. The value range and tones should also be defined here. Adding a narrative: While painting the scene, I feel it lacks a storytelling element.

It is very open to interpretation — it could be a kid or the ghost of a kid wandering around the room. The idea is strong enough to make the viewer look at the image longer and think about the nature of the character and the room he is in. From there, I keep adding more elements to polish and define the shapes.

I apply shadows on all the different layers, so I can easily modify them when I have to change the mood. Material behavior: At this stage I keep rendering all the elements, paying attention to how the light reacts to the environment. Light affects material in so many different ways.

The plastic ball illuminates some light that will bounce on the floor, coloring its own shadow. The lamp has metallic parts that are very reflective, and so on. The best thing you can do is look for pictures on the internet and analyze how light interacts with different surfaces. Here, I use a lot of layers in the Overlay and Screen modes to emulate reflections and bouncing light.

Adding lights: Although I already added some lights to the scene, I usually add the main lights and shadows with adjustment layers. For this image, I make a new adjustment layer mask set in Curves mode.

The benefits of adding light and shadows this way is that you can go back and tweak the effect whenever you want. For example, if I feel that the light or shadow is not strong enough — I just have to click on the layer and modify the intensity. These layers work as a mask, so the adjustment only affects the areas you want.

The more white you add to the mask, the more visible the adjustment will be. I continue painting more lights with a soft brush set in Overlay and Linear Dodge mode. Last elements: I keep adding more details to further build interest in the room. I paint some papers all over the floor as well as a new lamp on the right side. I first think to turn on the ceiling lamp for the night scene with artificial light, but feel that this kind of light is boring.

Then I think that. I keep adding more elements that will add more flavor to the image, like some books and old photos hanging on the fireplace wall.

Then I paint a face on the paper bag mask — my idea is to paint a different face on every scene. Checking the values and composition: I repeat this step over and over again. I usually work with mid-range values and.

Try to be clever and guide the eye to the areas you want by adding more light. I always have a layer set in Desaturation mode on the top, so I can switch it on whenever I want and check if the values are still working well. Last touches: I try to keep the colors fresh and cold because I want the feeling of an early morning scene. I correct the colors a little bit using Color Balance, but always try to keep the original tones I set in my previous sketch.

The image lacked a narrative so I add a character to the scene Adding reflections and shadows, keeping in mind the nature of the material being rendered Using adjustment layer masks to add light and shadow Painting more assets that will enrich the atmosphere of the scene Check your values and flip the canvas horizontally to detect possible mistakes.

Why does this wall have this material and not another? What will the floor look like if the house is abandoned? What kind of elements will tell the viewer that this room is abandoned and once belonged to a kid?

Stephen Lorenzo Walkes artbysteviewalkes. Photoshop Stephen is a freelance illustrator based in London, England. His caricatures have been used in editorials, advertising, album covers and books.

He is currently the creative director of the independent clothing company, Doopsie Joint. Stephen Lorenzo Walkes provides a step-by-step guide for drawing and painting a caricature in Photoshop.

This tutorial will give you an in-depth look into the process I normally use when drawing and digitally painting a caricature. The steps shared will not only give you an idea of to how I exaggerate the features of the model while maintaining her likeness, but also show how the gradual building up of values can change a quick rough sketch into a strong, eye-catching digital illustration.

Apart from my first initial sketch, all of the work in this tutorial has been done in Photoshop using the Wacom Cintiq 13HD. Rough sketches: Rough sketches are kind of like little rehearsals for the big event, but without the pressure. The more reference photos there are to work with, the better. For preparation of my caricature of Regina, I did three very brief thumbnails. The first sketch for example was lightly drawn in my sketchbook taking roughly around five minutes to do.

The outcome was clearly not very strong in likeness,. Chosen sketch: From studying five reference photos of Regina, four immediate facial features stood out to me.

Her big eye lids, her small round mousy nose, the space between her nose and mouth, and the. I realized that I captured everything except her eyes with my first attempt. But by my third sketch, I felt that I had enough of her standout features to progress with as my final.

At this stage I made a new layer and placed it underneath my sketch as the background layer. I then doubleclicked on my sketch layer to unlock it, and set it to Multiply. Selecting the Hard Round brush and lowering the Opacity to 43, I then started to lightly paint in a fleshy pink-brown color on the layer underneath my sketch.

At this point, while painting the areas that I wanted to build my values around, I made sure not to lift my stylus off the pad, simply because I wanted to keep my saturated mid-tone value the same. Taking my stylus off and on again would have darkened the value, which is not what I wanted at this stage. Normally this is a hindrance, but sometimes it can actually help lose over-dependence on references and improve on your artistic intuition.

Building tone: Looking at the reference photo, I noticed soft yellows, pinks, greens and browns, so raising the color slider, I searched for similar tones through observation and intuition. In fact my main goal was for the colors not to be identical, just similar. Find a style of caricature art that really inspires you, and then dedicate time to practicing how to create it. Follow their work. Try to emulate their techniques as a guide for your own.

Join caricature communities on social network sites. See how these artists create, and market themselves. Check out as many free tutorials online as possible, and any related videos on YouTube. But always find some time to practice and improve, until you have your own unique style or the beginnings of one at least.

Plus it allows me to experiment with other colors tentatively without committing, sometimes resulting in nice mixtures that add more to the block-in, but ultimately using the painting itself as my palette from start to finish.

Getting stuck in: Plus the reference only has a few colors, allowing me to establish rough colors fairly quickly. I felt that I had enough darks and lights to work with. Up to this point I had only been painting underneath my sketch, so the next step was to create a new layer, this time on top of my sketch, and then continue blocking-in.

I still used the. A fleshy mid-tone color on a layer underneath the sketch to build upon color values Look for the simple shapes that the light and dark values make Using the actual main piece as the palette to experiment and build upon Slowly developing the painting on top of the sketch instead of under it Hard Round brush, constantly enlarging and reducing its size with my left hand using the square bracket keys, but never going too small.

Harmonizing chosen colors: I began to focus on blending and harmonizing my main colors, painting on top of the sketch. Using the main piece as my palette, I frequently use the Eye Dropper tool to pick out the darks and lights. I also began to start using Brush 24 in order to create a more traditional texture where brushstrokes look more visible. My prime focus in this step is still mainly about harmonizing colors.

Flipping and reversing: I constantly rotated between two brushes, the Hard Round for shape, and Brush 24 for texture. When not convinced of likeness, one great tip that I picked up from a few of my favorite caricaturists is to reverse the image.

Flipping or reversing the artwork and reference photo immediately helps to highlight any mistakes and discrepancies. Ever since I began to do this, my artwork has improved drastically. Details and stronger values: I then needed to zoom-in and tackle the ingredients that would bring realism to my painting. I also use it to paint in pores and spots. Final touches: My digital painting is almost complete. I love this brush as it allows me to push the loose traditional feeling of the painting to the next level.

Once selected, I created another new layer, turned off the brush Pen Pressure and just stamped the brush effect in an area of my choice. I then used the eraser tool. Once satisfied with the result, I studied the finished piece both up close and from a distance, signed it, and then saved it as a JPEG.

Building the painting around warm feminine colors Reversing the image to highlight any mistakes helps to improve likeness Adding every pimple and pore is impossible — add subtle suggestions Adding dirty brushstrokes emphasizes the traditional feeling.

Visit www. Kurt Papstein reveals how he develops imaginative and detailed character models with speed and precision.

Finalize detailed classic cars Nick G. Gizelis explains the first stages of gathering and creating textures for detailed characters. Koen Koopman explains how, moving away from product visualization, he developed his own recognizable style. World famous designer Francis Bitonti on his career and Cloud Collection of home printable objects.

2D Artist - Issue - November by Kahshan Lau - Issuu

With practice comes speed. Geoffrey Ernault geoffreyernault. Learn the skills used to establish atmosphere and effective lighting Playing with lighting is one of the things I enjoy doing the most. Making the right light choices early on and being able to stick to it during the whole painting process has a drastic effect on your final image. A welldetailed image with poor lighting will just make your image boring and all the time you will have spent on fine details will just end up being useless.

In this tutorial, we will see how to make the right choices lighting-wise , approach volume rendering, create mood using light sources, and how it affects color. We may as well say a thing or two on composition, shapes and effects too! Like a lot of aspects in art, creating a specific lighting from mind can sometimes be quite tricky.

But the more you observe the world around you and try to understand how light actually works, the easier it will get. A nice table light near your desk? A beam of light being cast through the clouds in the sky? Let there be light…. First sketch: Even though most of my final images are digital, I often like to sketch them out first in order to explore ideas.

This allows me to be more natural than on a tablet, and not care too much for small details. While sketching, I usually focus on composition and shapes, and see if I can already apply an interesting mood and lighting in my mind.

He has worked in the videogame, film, TV, advertising and book industries for the past 10 years. Here he lights an atmospheric sci-fi scene. He mainly specializes in creating light filled, colorful fantasy scenes using speed painting techniques. He is based in Buenos Aires, Argentina. Sung Choi shows how you can quickly and simply use Photoshop to paint an abandoned war machine, and Joseba Alexander demonstrates light techniques in a space buggy scene.

Also in this issue you can find 10 more inspirational gallery images, the detailed work of traditional illustrator Xavier Casalta and an interview with the fantastic Alex Andreyev. Welcome to 2dartist issue ! I also find inspiration in nineteenth century photos, the intensity of their portraits, the clothing, the architecture and I simply like the spirit of that century.

In fact, frustration is my main motivation for drawing. Sometimes, I get ideas by watching the world and the people around me and anything can become a source of inspiration if it finds a resonance in my mind. If they are intense enough, I know that the drawing will be good.

Materials I work only on paper that is thick enough and with a perfect grit such as the Canson or the Lavis Vinci, because it works just fine with the pencil and they have two sides; a smooth one and a gritty one. So, depending on the rendering I want to give, I can choose to use the one I prefer.

Then the electric eraser is my weapon of choice when I want to clean the pencil. The tools that you can find nowadays to blur the pencil are uncomfortable to use and too small. They give a dirty rendering and the sounds they produce on paper make me grit my teeth! After trying many other ways to blur, including fabric which gets dirty too quickly, kitchen paper with large cells, I finally discovered the perfect way in something we all have at home: Paper tissues.

The rendering is really soft and clean and they are really cheap! As for the paintings, I use two different materials, watercolor and acrylic: I also work in Photoshop for color retakes and numeric painting with my Cintiq. The pencil is smoother and you can create some interesting blurs on the image by using it. When I work on my comic-books, I use only the Col-Erase, since I use early story-board sketches until the final inking. I think it gives a more dynamic sense to my drawings and the rendering is really close to animation drawings.

In my opinion, comic-books and animation are the same thing and they both create movement from still images. Then, it depends on the project, but I can work the colors with Photoshop for digital painting, or watercolor. Retaking small details with a color pencil to accentuate the lips and the bubble Delineating the contours of the character with a white Posca Painting the background with white Gesso — 3 to 4 layers gives texture to the painting Retakes of the light and color in Photoshop.

I really like it because I can erase small details without erasing the rest. I use it mostly to enhance the lights in the eyes, on the nose, to make the jewelry shine and basically on every element that requires thoroughness. Before I discovered it, I was using a kneaded eraser, but it left traces on the paper and dumped a layer of grease, so it was difficult to cleanly go over it again with the pencil.

Would you like to see your sketches featured in 2dartist magazine? If you think you have what it takes, get in touch! To submit, simply email Jess at jess 3dtotal. We look forward to hearing from you! Visit www. Livio Rajh talks us through his quick methods for sculpting, posing and rendering a portfolio image.

Tribal Mecha Yuanda Yu aka mourad. Photoshop Year created: Photoshop Web: Mountain Landscape Ferdinand D. Ladera Software used: Fantasy city Derk Venneman Software used: As part of a series that takes a look at both the fundamentals of creating visual art and the technical parts of digital painting, Donglu Yu provides detailed, step-by-step tutorials that cover the principal techniques employed in Photoshop to create a complex action scene.

In this issue, Donglu reveals ways to generate ideas through using reference images, sketching and texture brushes. Photoshop Donglu Yu is a senior concept artist working at Ubisoft Montreal. Discover how to create a strong starting point for your complex images In the following tutorial, I am going to give a detailed walkthrough on the creation of the image The Hunt.

The tutorial will focus both on the fundamentals of creating visual art and the technical aspects of the digital painting. This scene takes place within some ancient temple ruins, showing a few characters chasing after a beast. Research, thumbnails, sketches of the ideas: I never under-estimate the importance of the researching stage in the creation of my images. It gives me the opportunity to brainstorm the given subject and find proper designs for the architectural elements and the characters in the image.

With the given brief of the image, I can quickly sort out a few key words: Then, it will be around those keywords that I will sketch out the ideas. Sketching the ruins: I will start by setting the temple ruins within the environment. I have found some really good references on www. What is good about them is their copyrights totally belong to you.

Not only. When you lack ideas for your next image, just go through your visual bank; some nice sunset clouds, building shapes or a giant old tree root may trigger your imagination and inspire you to come up with fresh, new ideas. Since the ruins significantly dictate the composition of the image, I choose to start with these.

Iconic shapes are the foundations of any good composition, so I pick some gray values and make some blockings of big iconic shapes. At this point, you can use any default brushes that come with Photoshop, however I prefer to use charcoal brushes rather than the round airbrush ones, since they can give you crisp and sharp lines. Adding small details: It is important to spend some time drawing small details on the outlines of those big shapes in order to make them visually appealing and realistic.

Those cracks can tell the viewers that these are aged bricks and rocks. Along with the broken shapes, the very few gray shapes that I have just put down are already solidly setting the basic tones for the overall image. Using texture brushes: As I continue with the sketch, I continue using different textured charcoal brushes to add brick details to the basic blocking.

I also use photo references. Since we are in the researching phase, it is important to observe the material properties, mainly the old stone bricks in this case. To make the stone brick textures pop out of the image, it is essential to not overpaint every single brick in the ruins, just carefully draw out the ones where the light hits the most, and hint subtly at the rest.

Atmospheric perspective is another trick to make your image easy to read. The areas that I circled in red have different degrees of value contrast: Such contrast makes them instantly stand out in the foreground. As our eyes move further in the distance, we can notice that the central architectural element has less value contrast, as it. Since this is still the sketching phase, I stop polishing the image too much and start exploring with another sketch.

Blocking out the shapes of the ruins to set the composition Adding small details tells the viewers that these are aged buildings Isolating one or two bricks in the wall really makes them pop Creating perspective by varying the tone of the objects. A new sketch: Since the first ruins sketch is composed of heavily broken parts, I want to make something a little different for the second one: I will elaborate the technical aspects of the digital painting using Photoshop, such as how to make custom brushes, in the other parts of the tutorial.

Those notions remain the same no matter whether you use traditional tools or digital software for achieving the final result. Adding to the composition: After completing the second ruin sketch, I find something is lacking in the image, even though I do like the massive shape of the ruins.

Suddenly the ruins become alive — they tell a story. Sketching the characters: I am pretty satisfied with the environment now, so it is time to do some sketches of the characters as we move forward in the process.

As the ruins are static visual elements, it would be nice to add some motion in the image with our characters who are chasing after a wild beast. It should be appropriate for the story to have the characters as native people living on this land since the time of their ancestors. I use some big brushstrokes with the intention of sketching out the movements of the hunters, without worrying too much about their designs.

I make more sketches, paying attention to creating depth with the positioning of the hunters. Close-up details: I had the hunting mood going on with my last character sketches, so I decide to create a close up of the native.

He has some fundamental features of a native: I am not sure if this close up will be useful for the final painting, but doing some side studies on the topic is always good, as reference, to have a better understanding of the image context. Finalizing the characters: To finalize the character sketches, I draft a dark back view of the hunter.

After doing all those sketches, I now have a pretty solid understanding of the image context, and am very confident to start the black-and-white painting for the final image. From here, we need. Creating something a little different for the second sketch Building up the sketch to enhance the narrative and story.

Drawing extra versions of the characters broadens your knowledge and skill on the topic Finishing the black-and-white sketches. Subscribe today and receive 4 free issues! Besides very detailed step-by-step tutorials, 2dartist magazine will also ensure there are a large variety of topics covered as well. Click here for more information and to read the Terms and Conditions.

Here, he describes the best techniques you can use to create an appropriate mood and atmosphere for a scene at dusk. Software Used: Discover how to adapt the lighting conditions in a premade scene The Playground: Morning version into a scene at dusk. I will explain the general steps I follow, and offer some tips to keep in mind when applying the changes. Setting the light direction: Before I start, I make a mental diagram of where the light is coming from in each setting.

Having that in mind helps me to understand how the light and shadow will interact with the elements in the room. The amount of light coming through the window will change the mood completely, and will react with the different materials in many different ways. If you check around the room you are in right now, and then close the curtains or turn on the lights, you will observe that everything around you will shift; the colors, the light refractions, the shadows, and so on.

You have to keep these in mind every time you paint something. In this case the sun is setting, so it will generate long, elongated shadows and the colors will take on a warm tone. Color Balance: Once the image is separated into layers, it is very easy to make tonal changes. One of the advantages of having the image split into pieces is that you can tweak the tones and values separately without affecting the rest of the image.

I will add them in the next steps. Tone and highlights: I keep tweaking the Color Balance on every layer and also adjust the brightness and contrast as appropriate. I try to keep the floor tones as neutral as possible, because I will contrast it with a bright light later on. I also remove the shadows in the morning version as I will add the new ones in next steps. Adding the light I: I draw the shape of the light coming through the window using the Selection tool, and then I add the adjustment layer in Curves mode in the selected area.

You can see the sun position that will define the mood of the scene Changing the Color Balance and brightness of the overall image The process showing how I change the overall tone and values Adding some light with an adjustment layer in Curves mode. Try to find different variations of the same color and study how light affects these colors.

Adding the light II: Once the basic light is set, I keep adding more layers to adjust the tone. I want to reinforce the feeling of dusk, so I paint the shadows with warm colors. I also add some cold purple tones to balance the colors out. As you can see the shadow also receives some bounce light and absorbs colors from the environment.

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To make the shadow more realistic, I add an extra layer in Lighten mode with a warm tone and paint over the blurred edges of the shadow. Shadows and bouncing light: Now that the light direction is set, I keep adding bounce lights and shadows. In my opinion, adding the light first is very important because it will define how shadows and colors will interact.

As the sun is very low, it will project long, strong shadows. As you can see in the image, the light bounces off the floor and affects areas like the fireplace, ceiling and lamp.

2DArtist - January 2017.pdf

This is why I paint a source of light coming from below. You can see the bounce light in the corners of the fireplace and on the lampshade in the right-hand corner.

Adding the character: Although the main purpose of these tutorials is to show a room with different light settings, I want to add some storytelling elements, so I change the position of the kid this time, riding the wooden horse and draw a new expression on the paper bag. I like to add these kinds of subtle details that are imperceptible at first glance but can be spotted on a second or third viewing.

The triadic color scheme: The main base is a warm orange tone, but I always tend to add other tones to make the image more interesting.

This is, again, about adding more flavor. A monochromatic image or a scene with a basic color scheme is very boring to the eye, and so adding other tones will make the colors pop out. Of course you need to find the proper colors that will work in harmony with the main one. For this image, I choose a triadic color scheme. Triad colors combine every fourth color on the basic color wheel. This color scheme results in a vibrant palette, even when using unsaturated tones.

Just check paintings from Sargent or Sorolla and analyze the color palette. This is just one of the reasons why their paintings look vivid and harmonic. To my scene, I add some green and purple tones in certain elements, like the curtains, but generally also add some spots of these tones all over the composition. You can see a zoomed-in portion of the picture here, showing how these brushstrokes emphasize and complement the base color.

Last touches: For finalizing the scene, I turn the image to black-and-white one last time to check if the values are correct. I add some atmospheric light in Screen mode. Applying extra layers of color to the shadow cast from the window Bounce lights and shadows in different elements of the scene Adding storytelling elements into the scene like a character A diagram of the triadic color scheme Detail of the shadow with tones of green and purple Mark Hammermeister markdraws.

Photoshop Mark Hammermeister is an award-winning illustrator from the Detroit area. Caricature painting tips Mark Hammermeister provides a step-by-step walkthrough of the techniques he uses to create a realistic caricature of a young woman, from taking time to observe your references to adding those all important details! Discover the art of digitally painting the perfect female caricature from references For me, the process remains basically the same for either gender.

For this tutorial, I decided to do a caricature of my niece Nicole, in order to show how I go about doing a caricature of a pretty young woman and still manage to create an attractive painting. In this case, because I had complete creative control, I took several photos of Nicole from multiple angles, which gave me not only many more choices for reference, but also gave me a much better idea overall of the shape of her individual features and how they fit together.

Take time to observe: As you can see here, I took many photos of Nicole from different angles. A three-quarter view is often a good choice for caricatures, because it gives you a clear view of the shape of the cheekbones, nose and chin.

I take a few moments to develop an overall impression of the shape of her face. Not only are her features long and angular, but they all form a very definitive curve that point in the same general direction. I draw in some red arrows over the top of the reference photo to give a clearer idea of what I see when I look at the reference image. Time to thumbnail sketch: Then I zoom the image out to roughly a postage stamp size.

I sketch basic shapes and keep building on those shapes with new layers upon layers until I achieve what I think is a decent likeness. A lot of the time you may have the urge to skip the thumbnail stage and head right to the painting stage.

Resist this urge. Cleaning up my sketch: Blocking in colors: I fill the background layer with a reddish-brown color, then I set the Sketch layer to Multiply and begin blocking in colors on another layer below that. Time to paint: You can even record a Photoshop action to do this for you with a single keystroke.

In this instance, I quickly realize after I flip the image that one of her eyes is a little bit too low on the face. By copying and pasting the merged pieces, this will save me a lot of time in the long run overall that might have been spent repainting everything. I brush over the cheeks and mouth lightly to warm them up.

If I go too far, I can always use the History palette to go back before I used the tool. Refining the thumbnail drawing until we find a sketch that will form the framework for the painting Filling the background with a reddishbrown and blocking in colors below the sketch layer using a simple Hard Round brush Changing the background color and painting over the sketch layer Instead of repainting the eye, copy the selection and paste it onto a new layer in order to move it around Focusing on the details: Eyes are my favorite things to draw, plus they are one of the keys to establishing a likeness, so I zoom in tight on both the area of my reference I want to focus on, along with the same area on my painting, and begin sharpening and tightening up the details.

If you draw that shape correctly, it makes it that much easier to get the pupil correct. Nicole has very thick, dark eyelashes and I begin painting these in by creating a new layer and drawing them in, one by one, with a Soft Round brush with Shape Dynamics turned on. Working on the mouth: After the eyes, the mouth is the next most important area to focus on to establish a likeness.

Why is that, you might ask? I draw the teeth in separately, then the gums over that and the lips over the gums, building up the structures to make them appear dimensional. Painting the hair: The hair is almost always one of the last things I tackle. Painting hair is a time-consuming, but fun process. I use a Soft Round brush with Shape Dynamics turned on to give it a point.


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