1. Digital Painting in Photoshop
JOHN J. ZANETTA
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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
12. Step 1:
Line Art
• PEN/PENCIL DRAWING
• SKETCHUP
• Wireframe
• Sketchy line art
• Colors and textures
• COMBINATION OF THE TWO
13. Pen/Pencil
Drawings
The more line, the less
rendering and vice
versa
Consider which textures
and details you want to
suggest through the
drawing and which
through rendering
Line drawing should
comliment the
rendering
Keep it clean
17. Block it Out
Be fast
Its okay to be sloppy,
but you must
understand your layer
structure
Use all available
Photoshop tools for
selecting
Don’t zoom too far in
Don’t be too precise
around vegetation
18. Using
Sketchup to
Block it Out
You can use the
Sketchup model export
to easily make your
selections in your
digital painting. By
making an element a
distinct color, you are
able to isolate it and
manipulate in
Photoshop. Try hiding
the edges when you
export from Sketchup
as well.
22. Gradients
Create “linked” layer to
layer you would like to
apply the gradient to
Use Photoshop gradient
tools
Build color using a big
soft brush with the
opacity turned
back…don’t guess at the
color with the color
wheel
Study light source and
play with values to
emphasize the center of
interest
26. Shade
Create new layer and
set layer properties to
“multiply”
Select a flat purple from
color wheel
Use the selection from
your “building” layer
Fill the building faces
that are in shade
Gradients can be added
via a linked layer after
blocked out
27. Sunlight
Create new layer and
set layer properties to
“color dodge”
Select a flat purple from
color wheel
Use the selection from
your “building” layer
Fill the building faces
that are in direct
sunlight
Gradients can be added
via a linked layer after
blocked out
31. Importing
your shadows
into the
painting
Place layer beneath line
but above color layers
Layer blending option
should be set to
multiply
Adjust color of shadows
through adjustment
layers
Use your selections to
mask out any areas that
you do not want
shadows
34. Trees
Begin with some kind of
image of a tree, pull
opacity back to draw
over top
Create branch structure
on one layer
Next layer should be
shape of foliage
Make separate layer for
wash effect
Make final layer for
“noise”
41. Entourage
Add noise to building
faces, street lamps,
people, cars, etc.
Consider light source
Use wet edges brush,
and/or turn opacity
back on your brush
Use sketchup exports
and photos as under
lays
44. Clouds
Same concept as
gradient, build color up
Begin with base gradient
Choose brush and begin
creating cloud
formations, set layer to
hard light
Use filters to achieve
desired effect, blur,
watercolor, and others
work best
Give your sky depth with
deep blues or warm lights
Go back and highlight if
necessary
47. 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.
48. Using photos
for textures
Play around with filter
options
Use overlay to add color
and tone to the area
that the texture willl
cover
Pull the opacity back so
that the texture does
not overpower the rest
of the textures in the
image
49. Textures
Textures should be
placed on top of the
color but underneath
the line art
Use overlay blending
option
Use adjustment layers
to maintain tonal values
of drawing