Elements - Digital Painting Tutorial Series v02(1), English ebooks 4
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//-->Digital Painting Tutorial Series :Volume TwoContentsRock and StoneRich TilburyChapter 01003Rock and StoneVinegarChapter 02009SkyLinda TsoChapter 03017SkyAquaSixioChapter 04023SkyRich TilburyChapter 05034SkinRich TilburyChapter 06040SkinEmrah ElmasliChapter 07045TreesChris ThunigChapter 08052TreesRich TilburyChapter 09058WaterRich TilburyChapter 10063WaterfallDon SeegmillerChapter 11071Chapter 1 : By Richard TilburyRock & StoneelementsRockand StonePaintingRock and StoneStep 1:The first stage which forms the starting pointfor most of my digital work is a sketch done onpaper. This is where I assemble any unformedideas and decide on how the compositionwill be structured and try and give myself atemplate to begin working from. In Fig01 youcan see a pencil sketch that I scanned in whichwould form the basis of my final painting. Forthis tutorial I wanted to combine a naturallooking rock face that incorporated someelement of architecture that had been carvedinto the stone.light source I simply erased parts of this layerto reveal the white underneath (Fig02). It isimportant to define the light source as this isparamount in how the viewer reads the imageand interprets the forms. Rock can be a difficultsubject to paint as it varies tremendously, notonly in its colouration but more importantlyin its structure and the types of formations itadopts. Because its surface is so uneven withso many undulations and crevices it is easyto loose sight of the overall form and get tooinvolved with details. In order to keep controlof the painting process I find it is best to workon a larger scale to begin with and graduallywork your way down to the finer detail. In otherwords, decide on a light source and block inthe main highlights and shadows and carveout the general structure and form of yourimage before concentrating on the numerousincidental passages that will help add interestand detail to the final piece.Step 2:The next stage was to get rid of the glaringwhite of the image and so I tracedaroundthe drawing and on a separate layer whichI named “Background”, I used the Gradienttool fading from a pale to a darker green. Onanother new layer set to Hard Light I used adark grey and filled in the area that makesup the rock itself and then to establish thewww.2dartistmag.compagev2 Elements : Rock and StoneelementsRockStep 3:In Fig03 you will notice that I have added anew layer which I called “Main” and begunto rough in some of the areas that fall intoshadow and started to shape some of thecrevices. I used warm tones ranging betweenthose seen on the left using a standard softround airbrush with a varied diameter. I set theopacity to between 65 and 100% and the flowto around 50% using pen pressure to controlit as shown below the brush presets. It doesnot matter too much how rough your marks areat this stage as the painting will go through aprocess of refinement until it is finished. Quickand seemingly random marks are perfectlysuitable and may even inadvertently suggestpart of the final outcome so be bold andcarefree!and StoneStep 4:At the moment the light areas on the rock faceappear far too light. I want to create quite asmooth and reflective surface but white shouldonly be reserved for the extreme highlightsand not used across the entire picture. In orderto tone it down I’ve added a new layer set tomultiply at 71% which I called “Overlay”, andwith a very pale brown filled in some warmtones to soften the contrast and reduce thewhite to certain areas (Fig04).www.2dartistmag.compagev2 Elements : Rock and Stone [ Pobierz całość w formacie PDF ]
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//-->Digital Painting Tutorial Series :Volume TwoContentsRock and StoneRich TilburyChapter 01003Rock and StoneVinegarChapter 02009SkyLinda TsoChapter 03017SkyAquaSixioChapter 04023SkyRich TilburyChapter 05034SkinRich TilburyChapter 06040SkinEmrah ElmasliChapter 07045TreesChris ThunigChapter 08052TreesRich TilburyChapter 09058WaterRich TilburyChapter 10063WaterfallDon SeegmillerChapter 11071Chapter 1 : By Richard TilburyRock & StoneelementsRockand StonePaintingRock and StoneStep 1:The first stage which forms the starting pointfor most of my digital work is a sketch done onpaper. This is where I assemble any unformedideas and decide on how the compositionwill be structured and try and give myself atemplate to begin working from. In Fig01 youcan see a pencil sketch that I scanned in whichwould form the basis of my final painting. Forthis tutorial I wanted to combine a naturallooking rock face that incorporated someelement of architecture that had been carvedinto the stone.light source I simply erased parts of this layerto reveal the white underneath (Fig02). It isimportant to define the light source as this isparamount in how the viewer reads the imageand interprets the forms. Rock can be a difficultsubject to paint as it varies tremendously, notonly in its colouration but more importantlyin its structure and the types of formations itadopts. Because its surface is so uneven withso many undulations and crevices it is easyto loose sight of the overall form and get tooinvolved with details. In order to keep controlof the painting process I find it is best to workon a larger scale to begin with and graduallywork your way down to the finer detail. In otherwords, decide on a light source and block inthe main highlights and shadows and carveout the general structure and form of yourimage before concentrating on the numerousincidental passages that will help add interestand detail to the final piece.Step 2:The next stage was to get rid of the glaringwhite of the image and so I tracedaroundthe drawing and on a separate layer whichI named “Background”, I used the Gradienttool fading from a pale to a darker green. Onanother new layer set to Hard Light I used adark grey and filled in the area that makesup the rock itself and then to establish thewww.2dartistmag.compagev2 Elements : Rock and StoneelementsRockStep 3:In Fig03 you will notice that I have added anew layer which I called “Main” and begunto rough in some of the areas that fall intoshadow and started to shape some of thecrevices. I used warm tones ranging betweenthose seen on the left using a standard softround airbrush with a varied diameter. I set theopacity to between 65 and 100% and the flowto around 50% using pen pressure to controlit as shown below the brush presets. It doesnot matter too much how rough your marks areat this stage as the painting will go through aprocess of refinement until it is finished. Quickand seemingly random marks are perfectlysuitable and may even inadvertently suggestpart of the final outcome so be bold andcarefree!and StoneStep 4:At the moment the light areas on the rock faceappear far too light. I want to create quite asmooth and reflective surface but white shouldonly be reserved for the extreme highlightsand not used across the entire picture. In orderto tone it down I’ve added a new layer set tomultiply at 71% which I called “Overlay”, andwith a very pale brown filled in some warmtones to soften the contrast and reduce thewhite to certain areas (Fig04).www.2dartistmag.compagev2 Elements : Rock and Stone [ Pobierz całość w formacie PDF ]