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Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
Digital Painting Using Photoshop
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Digital Painting Using Photoshop

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Digital Paint Demo

Digital Paint Demo

Published in: Design, Art & Photos, Technology
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Transcript

  1. Digital Painting in Photoshop JOHN J. ZANETTA VISIT AND FOLLOW ME ON THE FOLLOWING PAGES! ZANETTA ILLUSTRATION FACEBOOK PAGE TWITTER LINKED IN YOUTUBE
  2. Brushes
  3. Typical layer structure Line Texture Windows Entourage  Begin with background and move  Trees forward  People  Cars Shadows  Use a photograph, illustration, or some kind of image for inspiration Shade Building  Roof  Experiment with different tools  trim Pavement  See what others are doing  Sidewalks  Streets  Courtyards Grass Sky
  4. 3 Layer Process Typical layer structure  Base  Wash  Noise Link the Wash and Noise layers to the base layer Adjustment layers, layer properties, and blending options can be applied to each of these layers
  5. Examples
  6. Examples
  7. Examples
  8. Examples
  9. Examples
  10. Getting Started
  11. Step 1: Line Art• PEN/PENCIL DRAWING• SKETCHUP • Wireframe • Sketchy line art • Colors and textures• COMBINATION OF THE TWO
  12. Pen/PencilDrawingsThe more line, the lessrendering and viceversaConsider which texturesand details you want tosuggest through thedrawing and whichthrough renderingLine drawing shouldcomliment therenderingKeep it clean
  13. SketchupExportsExport wireframeEdit export optionsExplore sketchup stylesKeep drawing scans,print outs, and modelexports the same sizeand resolution for easytransition
  14. Wireframe/hand drawncombinationA combination ofexported line fromsketchup and handdrawings can becombined.
  15. Step 2:Block it Out
  16. Block it OutBe fastIts okay to be sloppy,but you mustunderstand your layerstructureUse all availablePhotoshop tools forselectingDon’t zoom too far inDon’t be too precisearound vegetation
  17. UsingSketchup toBlock it OutYou can use theSketchup model exportto easily make yourselections in yourdigital painting. Bymaking an element adistinct color, you areable to isolate it andmanipulate inPhotoshop. Try hidingthe edges when youexport from Sketchupas well.
  18. Block it Out Time Lapse
  19. Step 3:Gradients
  20. GradientsBefore Gradient After Gradient
  21. GradientsCreate “linked” layer tolayer you would like toapply the gradient toUse Photoshop gradienttoolsBuild color using a bigsoft brush with theopacity turnedback…don’t guess at thecolor with the colorwheelStudy light source andplay with values toemphasize the center ofinterest
  22. Gradient sketch
  23. Gradient Time Lapse
  24. Step 4:Shade and Sunlight
  25. ShadeCreate new layer andset layer properties to“multiply”Select a flat purple fromcolor wheelUse the selection fromyour “building” layerFill the building facesthat are in shadeGradients can be addedvia a linked layer afterblocked out
  26. SunlightCreate new layer andset layer properties to“color dodge”Select a flat purple fromcolor wheelUse the selection fromyour “building” layerFill the building facesthat are in directsunlightGradients can be addedvia a linked layer afterblocked out
  27. Shade Time Lapse
  28. Step 5:Shadow
  29. Shadow fromSketchupAdjust shadow settingsHide edgesExport only theshadows
  30. Importingyour shadowsinto thepaintingPlace layer beneath linebut above color layersLayer blending optionshould be set tomultiplyAdjust color of shadowsthrough adjustmentlayersUse your selections tomask out any areas thatyou do not wantshadows
  31. Shadow Time Lapse
  32. Step 6:Plants
  33. TreesBegin with some kind ofimage of a tree, pullopacity back to drawover topCreate branch structureon one layerNext layer should beshape of foliageMake separate layer forwash effectMake final layer for“noise”
  34. TreesLayer structureApply watercolor filteror “inner glow” layerstyle to the tree shapelayer, noise layer, andbranch layer if desired
  35. Tree Demo Time Lapse
  36. BackgroundtreesSame 3 layer concept asother treesTypically less saturatedcolors
  37. Background Tree Demo
  38. Shrub Demo Time Lapse
  39. Step 7:Entourage
  40. EntourageAdd noise to buildingfaces, street lamps,people, cars, etc.Consider light sourceUse wet edges brush,and/or turn opacityback on your brushUse sketchup exportsand photos as underlays
  41. Entourage Demo
  42. Step 8:Sky and Clouds
  43. CloudsSame concept asgradient, build color upBegin with base gradientChoose brush and begincreating cloudformations, set layer tohard lightUse filters to achievedesired effect, blur,watercolor, and otherswork bestGive your sky depth withdeep blues or warm lightsGo back and highlight ifnecessary
  44. Sky Time Lapse
  45. Step 9:Finishing Touches
  46. Finishing Touches Darken corners using the multiply layer and a soft brush, similar to photographers Use adjustment layers to achieve best contrast, tonal range, and saturation Add warmth or more contrast to the focal point Add textures Flatten image and apply watercolor filter, you can do this with or without the line.
  47. Using photosfor texturesPlay around with filteroptionsUse overlay to add colorand tone to the areathat the texture willlcoverPull the opacity back sothat the texture doesnot overpower the restof the textures in theimage
  48. TexturesTextures should beplaced on top of thecolor but underneaththe line artUse overlay blendingoptionUse adjustment layersto maintain tonal valuesof drawing
  49. Final Time Lapse

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