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Elements+ +digital+painting+tutorial+series+v02 Document Transcript

  • 1. Digital Painting Tutorial Series : Volume Two
  • 2. ContentsRock and Stone Chapter 01 Rich Tilbury 003Rock and Stone Chapter 02 Vinegar 009 Sky Chapter 03 Linda Tso 017 Sky Chapter 04 AquaSixio 023 Sky Chapter 05 Rich Tilbury 034 Skin Chapter 06 Rich Tilbury 040 Skin Chapter 07 Emrah Elmasli 045 Trees Chapter 08 Chris Thunig 052 Trees Chapter 09 Rich Tilbury 058 Water Chapter 10 Rich Tilbury 063 Waterfall Chapter 11 Don Seegmiller 071
  • 3. Rock & StoneChapter 1 : By Richard Tilbury
  • 4. elementsRock and 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 layer involved with details. In order to keep control to reveal the white underneath (Fig02). It is of the painting process I find it is best to workStep 2: important to define the light source as this is on a larger scale to begin with and graduallyThe next stage was to get rid of the glaring paramount in how the viewer reads the image work your way down to the finer detail. In otherwhite of the image and so I traced around and interprets the forms. Rock can be a difficult words, decide on a light source and block inthe drawing and on a separate layer which subject to paint as it varies tremendously, not the main highlights and shadows and carveI named “Background”, I used the Gradient only in its colouration but more importantly out the general structure and form of yourtool fading from a pale to a darker green. On in its structure and the types of formations it image before concentrating on the numerousanother new layer set to Hard Light I used a adopts. Because its surface is so uneven with incidental passages that will help add interestdark grey and filled in the area that makes so many undulations and crevices it is easy and detail to the final piece.up the rock itself and then to establish the to loose sight of the overall form and get too www.2dartistmag.com page v2 Elements : Rock and Stone
  • 5. elementsRock and StoneStep 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!Step 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.com page v2 Elements : Rock and Stone
  • 6. elementsRock and Stone Step 6: The image is now starting to take shape and we can see how the eventual rock face will look. The two vertical uprights on the left and right are meant to almost form a right angle but at the moment the rock in between appears to be on a similar plane and so in order to remedy this I am going to add a “Shadows” layer set to Hard Light at about 50% opacity and using a dark grey, block in a large area that signifies shadows cast by the sun (Fig06). At this stage we have the main elements firmly established and we can now begin the final phase which is that of refining what we already have and painting in some details across the rock face. You can either do this on separate layers, work on the existing ones or even flatten the PSD file and then continue – it is up to you. It is wise not to continually create new layers as the file will become very large andStep 5: navigating through it will become a chore – justBecause there will be a strong light source in the upper left of the picture with some very bright preserve the key layers if need be. Also do nothighlights it is only fitting that there will be some strong shadows to match. So on another layer be afraid to change anything if you feel it iswhich I named “Dark areas”, I used a dark brown as seen in Fig05 to accentuate the forms and wrong no matter how advanced the painting is;add volume to the rock face. it is never too late to re-work problem areas! www.2dartistmag.com page v2 Elements : Rock and Stone
  • 7. elementsRock and StoneStep 7:To the details then! You will have noticed fromFig06 that I had painted in some cracks, mostnotably the one running up the flat face onthe left. However the overall surface still looksflat and uninteresting and so needs far morefractures and undulations. I started by erasingparts of the original grey layer (part2) to createhighlights exactly as before. Knowing that thelight is being cast from the top left I then traceda darker line to the left of these lines on the“Dark areas” layer where the shadows wouldreside. With the large shadow layer aboveall other layers it means that when erasingthe grey it does not reveal a white anymore(Fig07).Step 8:In Fig08 you will see that I’ve added a lot moredetail in the form of cracks and crevices aswell as darkening the shadows around the topand bottom of the picture. The best approachis to be quite loose and free about the way youapply marks to begin with – if they are wrongyou can simply erase them (if you are erasingfrom a layer such as the grey one, just addin more grey to undo it). There is no logicalpattern or set of rules to follow here, just useyour intuition and add detail where you see fit.This is when I use some of the initial marksmade in stage 3 to suggest how and whereto place the details. You can see when youcompare this image with Fig06 that there isnow more clarity and definition and the wholeimage looks less sketchy. www.2dartistmag.com page v2 Elements : Rock and Stone
  • 8. elementsRock and StoneStep 9:The final phase of the tutorial involvesimproving the detail further and using acustomized brush to add a subtle patternacross certain areas to break up the surfacesomewhat. Starting with a default Dry brush Ithen opened up the brush presets and chose asuitable Dual brush and altered the Scatteringsettings until I ended up with a result similarto that shown in Fig09. You could do thison separate layers if you wish and set theblending mode either to Soft light or Multiplydepending on the area and desired effect – itis up to you. You can see in the picture where Ihave applied the marks, numbered 1- 4. With abit more work and a few tweaks I arrived at thefinal result as shown in Fig10.Tutorial by :Richard Tilbury www.2dartistmag.com page v2 Elements : Rock and Stone
  • 9. Rock & StoneChapter 2 : By Vinegar
  • 10. elementsRock and StonePainting rocks, mountainsand stonesThis tutorial will show you how to basically getthe final scene (image 2) from this rough sketch(image 1), focusing on painting rocks from aclose and distant view. I have to admit paintingrocks and mountains was never somethingI focused on before, although I painted quitea few as backgrounds in my illustrations. Sowith for this scene I’ll try to show the generalprogress and some tips about painting variouskinds of rock structures. For painting this sceneI used both Adobe Photoshop 7 and CorelPainter 7, but frankly speaking it doesn’t reallymatter which program you’re using. www.2dartistmag.com page10 v2 Elements : Rock and Stone
  • 11. elementsRock and StoneChoosing colour schemeand blocking in the shape:I have chosen a very natural colour schemewithout any fancy lights, thinking that it’ll showyou how some things work. As for colours – it’snot as simple as just picking grey for stones,green for grass and blue for sky. Actually thereare colour perspective rules used by artistssince Renaissance and a general law thatworks in nature – things you see in the distanceare becoming more and more desaturatedand begin to get a blue-ish tone. I know it maysound obvious but very often I see imagesthat lack depth because an artist didn’t followthis simple rule. Draw some basic outlinesof the rock face you’re interested in (image3), I’d recommend to draw these two plainson separate layers as it will help to keep thefocus on each. At this point it doesn’t matterwhat brushes you’re using, you just have toblock in the general shape. Choose coloursas I mentioned before – here you can see theones I chose – more saturated for the closestforeground, colour 3, and desaturated for thebackground, colours 1 and 2. The same ruleapplies to the grass. Now you need to blockthe general light source. As you can see on thispicture I drew lines to show you how it lookslike (image 4 & 5). Follow strictly the schemeyou chose, remember that some parts will takemore light than other. Same goes for darkerparts in places where the light won’t reach it.See it on the picture (image 4) the light source.Darken them but only the parts that need it, notthe whole structure. www.2dartistmag.com page11 v2 Elements : Rock and Stone
  • 12. elementsRock and StoneDefining the shape (rockson the first plan):Right now let’s focus on the rocks at the firstplan. As for drawing the shape – there are nomagical tricks here. Your best friends in thiscase will be Google for reference pictures.Try finding many various example and studyfor a moment how the structure of rocks looklike. You can for example notice that veryoften small rocks will be at the bottom of thestructure, also that often small stones, flatplaces and bigger stones are mixed all togetherand such observations tried to implement in arough sketch (image 6 & 7). A nice trick here– use brushes with a low opacity, this way youwon’t loose your basic light scheme so quickly Photoshop’s low opacity brushes, smudge tool(although you’ll probably need to correct it very or Painter’s blenders – it’s all up to you, justoften and you’ll see that in a minute). You can remember not to overuse them later in finalblend the general structure you have using touch up’s.. Right now you’re just working on a structure, not on the details so it can be as smudgy and rough as you like. Creating a structure: Now the general rule is to work from big surface to small details. When we have a general shape, it’s time to focus on rendering smaller bits of rocks. Let’s see the general work flow here (image 8, 9, 10 & 11). Right now you should’ve seen many pictures of rocks already so try to add some more details to this structure using what you noticed about stone’s structure (see images 8, 9 & 10). Also try to think of such stones as a 3D form, don’t forget it has it’s own depths and is lightened from one or more sources. It doesn’t matter what brushes you’re using. In Photoshop I’d recommend standard brushes with low opacity and flow and in Painter I usually use Digital Airbrush or Detail Airbrush and later blend it a bit with blending tools. The outcome will be really similar. In image 11 you can see some textures added to make it more realistic.. www.2dartistmag.com page12 v2 Elements : Rock and Stone
  • 13. elementsRock and StoneUsing your own brushesand textures.NEVER, and I really mean never, use directlyphotos for creating textures. Well, I can’t forbidyou anything but if you’re using photos you’renot really painting, you’re just making a photomanipulation and that’s not what we’re doinghere. Use photos to make your own texturesand brushes with which you’ll paint later. Also– whenever you use some photo make sure it’sroyalty free (there are plenty of web-sites thatoffer such photos with no credit needed) or,well, take some yourself ;). Add bits of texturein various places but don’t do it mindlessly.Try to imagine which texture will be better inwhich place – some are more flat, some havevery rough structure (image 12). Don’t use onetexture only, mix them together, experimentwith settings. Add them to a new layer set to“soft light” or “screen” or any other blendingmode depending on which will look better. Andremember, there aren’t any strict rules whenit comes to painting. It’s always a constantexperiment and every painting is done in atleast slightly different way. Also try to add somedepth by painting with custom brushes. Youcan see here how mixing various textures andbrushes gives you a more interesting results(images 13, 14 & 15) than just flat pasting arandom photo. As for creating brushes (I think a new brush. Here I’m showing a few I createdPhotoshop will be a more useful tool here, and used to paint this picture (image 18). Butalthough you can try and use Painter, for me you’re not done yet, now have some fun withPhotoshop’s brush settings are just more the Brushes options (image 19), spend someintuitive) the same rule apllies, experiment to time to see how it’ll act with some scatteringcreate various ones and have a bit of fun with options, play with adding a texture to it, changeyour own brush settings, opacity and flow. Let’s it’s opacity, flow and dynamics. And save yourtake a look. Images 16 and 17 shows how I best results. Now you have a whole palettecreated this brush. Image 16 is a cutout I did of of new ways to add some more depth to thesome royalty free photos, image 17 is a brush I picture. You can see (image 20) how quicklydefined after playing about with it a bit (erasing you can achieve something resembling bushessome parts, repainting others). Use Edit > just by experimenting with your newly createdDefine Brush in Photoshop and voila! You have brushes. www.2dartistmag.com page13 v2 Elements : Rock and Stone
  • 14. elementsRock and StoneSetting rocks in theenvironmentNow the reasonable thing to do, would be toset your rocks in some environment so theydon’t look too fake (it’s a simple thing of fixingthe lights and adding some greenery to it). Asyou probably have already noticed, low rockstructures are never completely bald so addingsome grass and moss will make them lookmore realistic (image 21). And now here’s alittle trick on how to fix the lights. This far intoyour image you probably might of lost the lightsource a bit. At least I always do. So what I dois create a new layer above the rocks and fillit with a black and white gradient (image 22).Then I change the blending mode to multiply.This way the lower parts, which the sun can’treach, became darker (image 23). Compareimage 21 and 23, and the difference I think isobvious.Right now you’re pretty done with the rocks onforeground. Of course later on, some additionaltouch up’s will be needed to blend it well withthe rest of your picture, but as for now let’sfocus on the background. www.2dartistmag.com page1 v2 Elements : Rock and Stone
  • 15. elementsRock and StonePainting rocks andmountains in the distanceThe general work flow will be, of course, similar.What’s most important to remember, is thatthings in the distance won’t have as much detailas these on foreground. If you’ll add too manyyou’ll lose a feeling of depth as everything willlook too flat. Another important thing is what Imentioned at the beginning. For things in thedistance use more desaturated colours thanthe closer ones. With all that in mind and afterchecking references just start to render thegeneral shape (image 24, 25 and 26). www.2dartistmag.com page1 v2 Elements : Rock and Stone
  • 16. elementsRock and StoneWhen you’re done with it start working onsmaller details and more specific shapes ofrocks (image 27, 28 and 29). The last usefultrick is to add some grain to it in the end (image29). You can use Photoshop’s Filter > Noise >Add Noise or Painter’s Add Grain tool to getthis effect. Adding textures can also work fine,just remember it needs to be less sharp thanthe ones you used on foreground. You knowwhat I’m going to say now, just take one lastlook at what you’ve done and add adjustmentsif needed so it all looks more natural. And you’redone! I hope you’ll find this tutorial helpful :)Tutorial by:Vinegarvinegaria@gmail.comwww.vinegaria.com www.2dartistmag.com page1 v2 Elements : Rock and Stone
  • 17. SkyChapter 3 : By Linda Tso
  • 18. elementsSkies 1Step 1:Take a large soft edged brush to block in themost basic colours. I have used a very dark,saturated blue, a lighter medium blue as thebase colours of the clouds, and a mediumpurple to suggest the sky.Step 2:Choose a bright, saturated red, with mode setto Hard Light and brush over the bottom of thepicture, then use bright orange and yellow andbrush over the same area a few times. This willcreate a nice sunset like gradient.Step 3:Using custom brushes, and mainly pickingsome colours from the image, block in themain shapes of the clouds/sky. I have decidedon the upper left corner to have some brightsky showing through with a large supercell-type cloud occupying the rest of the space.The custom brushes add some interestingirregular edges and textures at this beginningstage. www.2dartistmag.com page1 v2 Elements : Skies 1
  • 19. elementsSkies 1Step 4:Using more strokes of various custom brushesto paint in the back lit cloudy sky in the upperleft. The brush sizes are still quite large here.Examples of custom brushes and their set-tings.Step 5:Use smaller brush sizes to start refining thecloudy sky. I alternate between simple paintingwith the colours chosen, or colour-picked offthe image, and a soft edged brush set on SoftLight with a medium saturated blue over theareas where the sky colour shines through. www.2dartistmag.com page19 v2 Elements : Skies 1
  • 20. elementsSkies 1Step 6:This step is mainly using the smudge tool todrag out some of the textures from the custombrushes, which have become just a bit toomuch for clouds. I mainly use the smudgetool with the spacing not checked, which isgreat for smooth blending of colours withoutthat “Photoshop” look, although for this I alsowanted to have that pulled colours look sosometimes I leave the spacing checked.Step 7:Adding more details, this time using mostlysmall soft edged brushes, and start working onthe large supercell.Step 8:More details with a small soft edged brush,and blending and pulling colours with thesmudge tool. www.2dartistmag.com page20 v2 Elements : Skies 1
  • 21. elementsSkies 1Step 9:The last step is really just checking the overall image, I decided it would be good to adjust the lighting, and this can be done quite easily with a largesoft edged brush. Chose more saturated colours with similar hues and mode set on Overlay/Soft Light/Hard Light. If you want to lighten an area,make sure the value of the colour is more than 50%, and vice versa if you want to darken an area. These blend modes are very useful for makingthings “glow”. I also blend out more of the too-recognizable texture from the custom brushes. If this were to be a complete painting, I would probablyspend a lot more time to add details to the supercell, which could really enhance the sense of scale.Using a soft edged brush set on Overlay or Soft Light/Hard Light blend modes to lighten or darken large areas. These blend modes are usually bet-ter than say Screen or Multiply since they also tend to saturate the colours a bit more. www.2dartistmag.com page21 v2 Elements : Skies 1
  • 22. elementsSkies 1In order to bind the image together and finishit we need to bounce some of the orange lightalong the bottom left edge across the cloudsand unify the colour scheme slightly. UsingSelect - Colour range pick an area of the darkblue storm cloud and then feather the selectionsomewhere between 30 and 50. With this donego to Image - Adjustments - Colour Balanceand add some warmer tones by moving thesliders towards the red and yellow. Then selectan area of the bright orange using the colourpicker and then on a new layer set to Overlaystart painting in some light above the darkcloud in the upper left and also highlight someof the lighter clouds in the right of the picture infront of the main cloud formation. This will helpthese lighter clouds reflect the light source atthe bottom of the picture and bring it togethermore. If you like you could also select the lightarea in the upper left of the painting using thelasso tool and after feathering the selection,adjust the colour balance in a similar fashion tothe large cloud.Tutorial by :Linda Iso www.2dartistmag.com page22 v2 Elements : Skies 1
  • 23. SkyChapter 4 : By AquaSixio
  • 24. elementsSky‘You have your headIn my Cloud.’How can I start ?First, I had to choose two complementarycolours. I tried the orange / light-purple combo.Then I choose a basic brush ( size: 100Opacity: 100 flow: 20 ) and I paint in roughshapes. I drew the same cloud forms as I didwhen I was a small child. Use the form of thebrush to help you ( size: 50 opacity: 100 flow:20 ). Reduce the opacity to add a misty effect( size: 50 opacity: 50 flow: 20 ). www.2dartistmag.com page2 v2 Elements : Sky
  • 25. elementsSky The light outline I added A third colour ( don’t ask me why lol ) and used the same process as before except for one thing: The light outline - I picked the light-orange from the previous cloud and drew the cloud’s form( size: 6 opacity: 75 flow: 20 ).www.2dartistmag.com page2 v2 Elements : Sky
  • 26. elementsSky Here, I tried to unify the two parts of the drawing. What about the bottom part ? Here I added a dark orange. Then I drew a rough cloud form. I changed the hue ( -9 ).www.2dartistmag.com page2 v2 Elements : Sky
  • 27. elementsSkyIt’s not Precise !Now is an important phase: WORK ANDCLEAN, I tried to change all the crude shapesinto precise cloud forms ( using the samebrushes as the previous clouds). www.2dartistmag.com page2 v2 Elements : Sky
  • 28. elementsSkyRecapitulatory for thebrushesRemember there are no strict rules herebecause there no magic formula ha ha...Canvas’s size 480*640 pixels and one layerused. For crude cloud’s form: Size 100 opacity100 flow 20. For the cloud details: Size 30-60opacity 100 flow 15-25. For the mist: Size 100opacity 30-50 flow 15-25. For the light’s out-line Size 3-6 opacity 60-100 flow 20-35. Youcan build the cloud structures using the form ofthe brush, it easier. www.2dartistmag.com page2 v2 Elements : Sky
  • 29. elementsSkyThe second partThe heaven thing... bah it’s the continuation ofthe drawing. You will see what I draw when Ihaven’t any inspiration lol. So I added anotherlight effect with the basic brush ( size: 150opacity: 20 flow: 10 ). www.2dartistmag.com page29 v2 Elements : Sky
  • 30. elementsSkyThe compositionHehe now it’s time for the composition. What’sthe composition ? It is the structuring of howpeople see your work and read your picture. Ifyou don’t consider the perspective, the frameor the colours then the render won’t be as in-teresting as your work. I am sure my composi-tion is not perfect but I tried my best. www.2dartistmag.com page30 v2 Elements : Sky
  • 31. elementsSkywww.2dartistmag.com page31 v2 Elements : Sky
  • 32. elementsSkyCanvas’s size revolutionHere you can see the new composition of thedrawing as I was not satisfied with the previousversion. I decided to change the canvas size400*800 as the waterfall might work better...Why did I added the green I can’t explain, thefact this drawing is very light could be a pos-sible explanation. I painted the green as mist,but this time it was the waterfall’s mist. www.2dartistmag.com page32 v2 Elements : Sky
  • 33. elementsSkyFinished ArtworkI changed the brightness, but I think thecomposition is still unresolved. I tried anothercomposition idea below. You can see theprocess I use when starting a new drawing inPhotoshop 7 and you could now possibly try todo your own cloud drawing.Tutorial by:Aquasixio www.2dartistmag.com page33 v2 Elements : Sky
  • 34. SkyChapter 5 : By Richard Tilbury
  • 35. elementsSkyPainting a Sky a reasonably neutral light blue grey ( R 153, G using the eraser to create sharper accents andIntro: 167, B180 ) and filled in the entire canvas. also the smudge tool to blur some sections.This tutorial will attempt to outline a brief and You can also use the eraser to gradually fadestraightforward approach to painting a simple Step 2: out some of the edges by setting it to aroundsky with particular attention to the interaction Next stage is to decide upon the positions 25% opacity.between sunlight and cloud formations. It is of the main clouds which in this example willaimed at beginners who are keen to find a enter the frame from the left edge. For this I Step 3:technique to in which to tackle a very popular will use a darker version of the background With this main cloud in place it is time to addand universal subject and one that features in colour ( R 126, G 140, B 157 ) and rough in the light source which will emanate from themuch digital painting the general shape on a separate layer. It is a bottom left corner and so on another new layer good idea at this stage to use loose and bold I selected a pure white and placed this layerStep 1: brush strokes and encourage happy accidents under the previous one to ensure the light isThe first step is to fill in a base colour but due that may help suggest the forms and then behind the cloud. With a large airbrush aroundto the very changeable nature of the sub- refine them further down the line. You can see 400 pixels I simply blocked in the light in theject there is no particular hue that should be in the image that I have varied the edges to bottom corner and faded it out slightly acrosschosen here. In this case I have decided upon add some interest and realism and this I did by the image. www.2dartistmag.com page3 v2 Elements : Sky
  • 36. elementsSkyStep 4:With these two key components blocked in it is time to refine the main cloud by varying the tones to prevent it looking too flat. So using the erasertool partially begin erasing areas to give it some form and also fade some of the edges as well as perhaps adding in lighter accents using a palerblue grey.Step 5:It is now time to begin adding in some of the detail that will make up the distant clouds that will run along the base of the canvas to the right as wellas add in highlights around our main cloud where it thins out and catches the sunlight. Again on another layer I start to paint in the highlights usinga pure white by first outlining the top edge of the cloud with some thinner wisps extending from the right edge. Lastly I suggested a formation ofclouds in the distance by just painting in the top edges which have caught the light using a small airbrush around 3 - 5 pixels. www.2dartistmag.com page3 v2 Elements : Sky
  • 37. elementsSkyStep 6:In order to add a little more drama and volume to the cloud I added some darker tones on a separate layer which was set to Multiply but made sureto focus these only on the far left where the sunlight is at its brightest and so increase the contrast.Step 7:With this layer done it is just a question of refining what we have already done by either adding one or two final layers or manipulating the onesalready in place. For the purposes of this tutorial I worked on the existing ones and painted in some finer lines along the top of the cloud to giveit some definition and highlights. I also painted in some traces of detail across the middle of the cloud to give it some form as well as some smallsmudged clouds around it. Here is the finished article done in about an hour and a half. www.2dartistmag.com page3 v2 Elements : Sky
  • 38. elementsSkyConclusion:It is a good rule of thumb to paint in rough shapes and then use the Gaussian blur filter tosoften the shapes and then using a small airbrush simply add in a few sharper lines to createthe forms. It is not often necessary to add an equal amount of detail across the entire paintingbecause the brain does a very good job of filling in where the eye is only offered a suggestionof something.Tutorial by :Richard Tilbury www.2dartistmag.com page3 v2 Elements : Sky
  • 39. elementsSkywww.2dartistmag.com page39 v2 Elements : Sky
  • 40. SkinChapter 9 : By Richard Tilbury
  • 41. elementsSkinThis tutorial will deal with the topic of paintingskin. As with any subject, it is important togather as many references as possible beforestarting. Skin is yet another element that variesgreatly, hence the importance of research. Noone person looks the same and so it is importantto decide on a rough colour scheme early on. Idecided as a starting point, to begin with a roughdrawing I had already done on paper in one ofmy sketchbooks.Step 1The first stage, as always, was to make a quickcopy of the drawing on a new layer using asmall standard airbrush set to about 8 pixelswide and set to Multiply. This will act as ourguide for the painting, which you can see inFig.1. Step 2 Quite often I place the predominant colour down across the entire canvas, which in this case is a light brown (R157, G103, B76), but here I wanted to keep a white backdrop, so I made a mask around the drawing and then filled in the body only (Fig.2) www.2dartistmag.com page1 v2 Elements : Skin
  • 42. elementsSkin Step 3 This will form the base colour, over which I shall now start to paint in some general highlights and shadow areas. I usually paint these on two separate layers, but in this instance I am putting them on the same layer and leaving it at the standard Normal blending mode in order to make quicker changes (Fig.3) At this stage, we are just trying to establish the basic forms and where the light source is situated. You can see the type of brush used in the top right, along with the flow setting (50%). Try to keep the light and dark areas as derivatives of the base colour. You can see the two shades I have used in the top left of the image. Step 4 Now that the body has begun to take form, and I know roughly where the light is falling, it is time to create a new Shadow layer which will be set to Multiply. This will define the key shadows and will be done using a soft airbrush and will help to further define the forms. The colour used can be seen in the top left (Fig. 4). Step 5 You will notice that, so far, the detail has been defined tonally, with various sizes of the soft airbrush. Certain areas, such as the lips and around the deltoid muscle at the top of the left arm, have used a hard round brush which creates a more clearly defined edge, as demonstrated by the two brush strokes in Fig 4.www.2dartistmag.com page2 v2 Elements : Skin
  • 43. elementsSkinStep 6Now that a shadow layer has been established,it is time to create one for the highlights, whichwill be set to Soft light as a blending mode. InFig. 5, you can see the colour used in the topleft. I have also gone back to the original lightinglayer and also added in some highlights acrossthe face and neck to improve the head area.Step 7There are essentially two further layers that Iwill use before flattening the image and makingcolour adjustments. One shall be reserved fordetail only, namely the nipples and veins, andthe other will be called ‘refinements’ which shallbe another highlights layer in essence. In Fig.6, you can see this layer isolated over the baselayer. It is set to Normal blending mode anduses the same colour as the highlights layer.The purpose of the layer is to enhance what isalready there by using finer strokes, as well aspaint in the brightest areas. Keeping this as aseparate layer just means more control whenmaking final adjustments to the tonal ranges.Step 8With this layer complete, and the small detailspainted in, it is just a question of making someminor colour changes, which in this case meansa colour balance adjustment layer which Itweaked towards a more yellow hue. One lastlayer, which is set to Soft Light, is used to addsome colour to the ears and lips, as well assome of the random areas, to add a little colourvariation.Step 9One could now add some blemishes and marks,along with some subtle colour variation, to helpreduce the consistency of the skin tones. www.2dartistmag.com page3 v2 Elements : Skin
  • 44. elementsSkinwww.2dartistmag.com page v2 Elements : Skin
  • 45. SkinChapter 7 : By Emrah Elmasli
  • 46. elementsSkin In this tutorial, I’ll try to explain the painting process of a realistic human skin texture. I’ll use the upper torso of a male body as my subject, which is a very good surface to apply light, form and detail. It’s always good to use a reference in subjects like this - a photograph or a live model will do. I begin my painting process by creating a new A4 document in Photoshop CS2. The first step is drawing the lines of the torso. I start by drawing the main sketch on a new layer with a simple brush (figure 01), by looking at a torso reference found in an anatomy book. To begin, it’s always useful to draw a basic sketch which indicates the main forms of the subject. By doing this, our painting will be better and correct (figure 02). After finishing my sketch and being happy with it, I change the “layer properties” to “multiply” and open up a new layer underneath it. I fill this new layer with a medium skin tone (R: 219; G: 190; B: 156), which I’m thinking of using in my painting, using the “fill” tool (figure 03).www.2dartistmag.com page v2 Elements : Skin
  • 47. elementsSkinAs we know, skin tones vary by the races and countries we live in. The skin that I’m going to paint belongs to a white man, with a medium-toned skin. Icontinue by opening a new layer between the sketch and the medium skin tone layer. I start to determine general forms with the soft brush that you willsee detailed in figure 04. The colours that I use while painting the forms are the darker and warmer tones of the medium skin tone that I used before. Ipay more attention to the general “stain” values, then going more into the details and trying to figure out the form of the skin, the curves of the musclesand the colour of the final skin tone. (figure 05). For the next step I can start to apply the highlights by considering the angle of the light source. I use theyellowish and lighter tones of the skin, so that the form starts to slowly become more defined (figure 06). After being happy with the highlights and theshadows of the form, I start to paint over the lines and try to make the painting look more realistic (figure 07). The brushes I use while painting over thelines are the airbrushes that I use frequently, and the hard-edged brushes which I use to paint the sharp edges (figure 08). www.2dartistmag.com page v2 Elements : Skin
  • 48. elementsSkinNOTE: Skin takes the form of the muscles and wraps it like a cloth. One of the most important things that we should pay attention to, whilst painting arealistic skin texture, is successfully applying the curves of the muscles. If we take a look at the shoulder muscles, we can see the harmony between theskin and the muscles under it (figure 09). Human skin is a reflective surface, in despite of its matte appearance. If we look at the area between the bicepmuscle on the upper arm and the ribs (figure 10), we can see the bouncing light effecting the bicep area. We call this “radiosity” . This reflection changesdepending on the colour and the density of the light. It is important to get the reflections right, whilst painting a realistic skin texture. After painting overthe lines (figure 11), I can start the detailing process. The best way is to examine our own skin to see what kind and amount of detail it has. Skin hasdetails like freckles, hair and spots. Now, I’ll try to apply these details to my painting. I can start with the freckles and spots detail. One of the best waysto produce freckle details, is to create them traditionally by using a brush and watercolours. All you need to do is to spatter some watercolour paint on towhite paper. After creating the spatter effect, you scan it and make it ready to use digitally. www.2dartistmag.com page v2 Elements : Skin
  • 49. elementsSkinUsing Photoshop, I desaturate the spatter texture and adjust the levelsuntil it becomes pure black and white (figure 12). Then I copy this textureon my painting and apply it to the suitable places. To integrate the freckleswith the skin I change the “layer properties” of the layer to “colour burn”,and to make it less dominant I decrease its opacity to 50% (figure 13). Tomake it look more homogeneous, I erase some of the spots. I also applysome brown coloured spots to make the skin texture richer (figure 14).The other way of make the texture look more detailed is to add some hairto it. I paint these hairs on the lower arm with a thin, hard brush one byone (figure 15). www.2dartistmag.com page9 v2 Elements : Skin
  • 50. elementsSkinThe colour of the hair I chose is a lighter tone of the skin colour ( R: 199 , G: 154 , B:116). (figure 16) . Another detail which reveals under the skin,is the veins. I add some blue-ish, grey coloured vein details on the bicep muscle with a soft and calligraphic brush, without over-doing them. To makethem “pop out” more I add some highlights to them with a lighter tone of the skin colour (figure 17). After adding all these details, I’ve almost finished thepainting. There are just some colour and contrast adjustments left to be made. Over all my layers I open some “Adjustment Layers” like; “brightness/contrast”, “colour/balance” and “ hue/saturation”. You can find these by going to the “layer” menu and clicking on the “New Adjustment Layer”. I increasethe contrast and decrease the saturation a bit. Also, I adjust the colours by the help of “Colour Balance” and make them look more accurate. As a laststep I will add a “noise effect” over the skin to make it look rougher. I open a new layer and fill it with a greyish tone of the skin colour (for example:R:180; G: 170; B:150). After this, I go to the “Filter” menu, click on “Noise” and select “Add Noise” effect, then make these adjustments: Amount: 400%,Distribution: Uniform (figure 18). After this, I use the “Spatter Effect” to make the “noise” look messy and unbalanced. (Filter> Brush Strokes >Spatter).Then I apply “Blur Effect” on the same layer twice. (Filter> Blur> Blur) (figure 19). Lastly, I decrease the opacity of the layer to 4%. Finally, my skinpainting is complete (figure 20). This is the method I use to paint realistic skin texture. I hope you like it. www.2dartistmag.com page0 v2 Elements : Skin
  • 51. elementsSkin Emrah Elmasli More work from this artist can be found at: www.partycule.com You can contact them via: emrah@partycule.comwww.2dartistmag.com page1 v2 Elements : Skin
  • 52. Winter TreesChapter 8 : By Chris Thunig
  • 53. elementsWinter TreesIntro: This tutorial will attempt to outlinea shape-based approach to painting usinga snowy tree as an example. It is meant toexplain a more graphic as opposed to a fullyrendered modus operanti while limiting oneselfto using mainly contrast and form to create anillustration.Step 1: Before actually starting up the computer I produced a quick ink sketch on aquarelle paper to lay down some interesting shapes, finda decent composition and define the general direction I plan on going into. Besides the fact that I am able to stay looser when exploring an ideatraditionally before fleshing it out in Photoshop I find that the paper structure and ink shapes will give the image a subtle naturalistic quality that isotherwise difficult to reproduce digitally. When sketching, even at this early stage, it may be worth to hint at perspective and volume by blocking outsome of the inner shapes with a few strokes instead of solely relying on the outlines as this will initially give a clearer idea of where the drawing isheaded. (Fig.01)Step 2: After scanning the sketch I first of all applied an overall Brightness/Contrast layer to darken the image enough to allow me to addboth, darker and lighter values when rendering the volume of the tree later on. I then roughly filled the shape of the tree with a base colour in amultiply-layer using a medium sized chalk brush. Though the brush itself generates a solid “coat” of colour the outline of it makes the smudges lookmore natural than a normal round brush would, resembling somewhat of marker sketch. (Fig.02) www.2dartistmag.com page3 v2 Elements : Winter Trees
  • 54. elementsWinter TreesStep 3: Since the subject matter is characterized by a rather limited colour spectrum and sharp, contrasty lines in a usually diffuse lightsituation I am using what I call a shape-based approach in creating this image rather than setting a definite light source and going straight for arealistic light source-based rendering. In doing so I try to define light and dark areas that form shapes by contrasting each other. In achieving thisthe snow patches in this picture play an important part and I start laying out them in broad, rough strokes with a smaller charcoal-shaped brush.(Fig.03)Step 4: By darkening the base layer of the tree slightly more I increase the contrast between snow and organic structures further and startblocking out details of the trunk, rocks, and grassy bits to begin generating volume as well as giving more shape to leaves, roots and branches.Adding just a subtle touch of colour on in places will be enough to prevent the image from looking too monotone. (Fig.04) . www.2dartistmag.com page v2 Elements : Winter Trees
  • 55. elementsWinter TreesStep 5: Next, the cleaning up of the yet untreated areas could begin. In doing so I found it important to angle the sharp outlines of shapes of,for instance, the snow patches in interesting ways to generate appealing compositions and as such filling white space by relatively simple means.This ensured that none of the less important areas would become overworked and the focus stayed firmly on the tree. (Fig.05)Step 6: As the detailing continued by fleshing out the texture of the bark I also took the opportunity to add small gimmicks such as icicles andtiny tracks to break up larger shapes and lines into smaller ones and invoke a touch of lively playfulness. A slight gradient as a background not onlyhelped to juxtapose the contrast of the snow patches on top of the tree further but also gave a subtle hint at a damp sky. (Fig.06) www.2dartistmag.com page v2 Elements : Winter Trees
  • 56. elementsWinter TreesStep 7: against each other and virtually leading the Tutorial by :With the tree painted up and the largest part focal point from the base of the gnarly trunk Chris Thunigof the clean-up work completed I decided over to the right towards the fence. The http://www.thunig.comto add some patchiness to the gradient to comparably young, slender and fragile plantsomewhat clasping the batons to the right also serves thediminish purpose of juxtaposing opposites. (Fig.07)the CG feel.A few more Conclusion:roots peeking Breaking up large shapes into smaller onesout from under while using tonal contrasting to separatethe snow on the them can be a relatively quick and easyleft helped the tree’s way to create interesting compositionsperceived while maintaining some form of readabilitystability. I by detailing mainly the areas of interestthen balanced and keeping the surrounding forms simplethe composition and sharp, yet appealing in their layout andon the right angularity.by adding a fewgrass leaves in theforeground and a fencebehind the tree whilethe subtle disk of themoon simply servesas another means ofcontrasting shapes www.2dartistmag.com page v2 Elements : Winter Trees
  • 57. elementsWinter Treeswww.2dartistmag.com page v2 Elements : Winter Trees
  • 58. TreesChapter 9 : By Richard Tilbury
  • 59. elementsTreesIntroThe following tutorial will attempt at outliningan approach to painting trees and hopefullysummarise techniques that can be appliedto the subject as a whole. Off course thecapabilities of creating custom brushes inPhotoshop is very useful with regard topainting different types of trees and will needto vary accordingly but overall the principalsexplained will remain universal.Step 1:The first step is to draw in a rough shape thatrepresents the trunk and branches of the tree.I made an initial plain white background andthen using the polygonal lasso tool simplytraced in the shape of the tree and then filled itwith a dark brown colour similar to (fig 01).Step 2:Then using one of Photoshop’s standard dualbrushes called dry brush which appears in thedefault palette and using a mid green (R42G65 B11) start blocking in some of the mainareas of foliage as seen in (fig 02). Try varyingthe size of the brush until you get the scaleright. www.2dartistmag.com page9 v2 Elements : Trees
  • 60. elementsTreesContinue adding the leaves until you are happywith the look and have filled out the shape ofthe tree (fig 03).Step 3:Then in order to add some volume andshadows I duplicated this layer and erased theupper most portions so that the sun appears tobe shaded from the lower boughs and incontrast highlighting the highest branches(fig 04). Then on another new layer I paintedin some lighter green highlights acrossthe top sections of the foliage to also helpcreate the volume. In (fig 05) I blacked outthe background so you could more easilysee these areas. You will also notice how Ihave included highlights on the branches toreinforce the sensation of light. www.2dartistmag.com page0 v2 Elements : Trees
  • 61. elementsTreesStep 4:The next stage is to add some further highlights on the same or a new layer as well as some extra branches that appear in front of the foliage. It isimportant to remember that the branches and foliage spread out in every direction as well as towards the viewer and so branches disappear behindleaf groupings and also overlap them at points (fig 06). You can see the extra highlights when you compare the picture to the previous image. Theserepresent the leaves that have really caught the light and often appear very pale due to their reflective quality. www.2dartistmag.com page1 v2 Elements : Trees
  • 62. elementsTreesStep 5:All that is left to do now is flatten down the layers of the tree and then using the colour dodge and colour burn tools enhance some of the qualitiesof the light across the branches and foliage. I also decided to add in the sky painting from last months Element’s tutorial and tweaked this using theColour Balance and Hue/Saturation values to give it a sunnier and warmer quality. You can see the final result in.Tutorial by :Richard Tilbury www.2dartistmag.com page2 v2 Elements : Trees
  • 63. WaterChapter 10 : By Richard Tilbury
  • 64. elementsWaterPainting WaterDuring this tutorial I will try to outline oneway to go about painting water that isrepresentative of a calm sea. Now this is asubject that varies greatly and is dependanton so many factors that it is almost impossibleto lay down strict rules and guidelines. Waterby nature is highly fluid and transformable andtherefore does not have a particular form toit. It is both transparent and at the same timevery reflective and so is always at the mercyof its environment and surroundings in theway it is perceived by the human eye. It isalso affected by light, weather conditions andgravity and so can appear in an infinite numberof ways. A waterfall or fast flowing rapids lookwhite and opaque compared to a still pool forexample and the colour of the ocean alwaysreflects the sky above it. Therefore the way wego about painting water is always reliant upona number of issues and aspects in our sceneand all of these must be considered beforewe begin. As I have already mentioned thisparticular tutorial concerns a relatively calmsea and so the only real issue to be mindful ofis the sky. If we were to include land masses ortrees for example then these elements wouldundoubtedly have a bearing on our painting.Step 1: So the first thing to do is blockin our horizon line and colour of the sea. Ihave decided to start with a dull grey bluebut this can easily be changed later on. Onthe background layer fill in the whole picturewith a white and then using the rectangularmarquee tool create a selection area at thebase of the image and then go to Select– Feather and enter about 10 pixels and fill inwith a blue colour as seen in Fig 1. With thisdone select the entire image and go to Filter– Blur – Gaussian Blur and enter around 6.7.This will sufficiently soften our horizon line and www.2dartistmag.com page v2 Elements : Water
  • 65. elementsWaterlessen the transition between the sky and sea.This of course is not always how we perceive thehorizon – sometimes it is very crisp but for thepurposes of the tutorial we shall create a bit ofatmospheric perspective.Step 2: With the two colours blockedin the next thing to do is start to create thereflections across the surface which will definethe motion of the water. I decided to makea reasonably calm sea without too muchturbulence but enough to create a pattern.For this I started with a standard soft roundairbrush and under the Brushes tab added asample tip as a dual brush with settings similarto Fig 2. I then created random strokes acrossthe blue on a separate layer using a variety ofbrush diameters and using a pure white. I thenset the layer opacity to 50%. The final resultcan be seen in the upper right. www.2dartistmag.com page v2 Elements : Water
  • 66. elementsWaterStep 3: The next stage involves creatinga new layer and doing exactly the same thingexcept creating marks in different areas (Fig3). Set the blending mode of this layer to pinlight and turn the opacity down to around 70%- you can see the two layers combined in theupper right.Step 4: In this exercise I am going tohave a setting sun in the centre of the imagejust above the horizon line and so will needstronger reflections at this point. So again ona new layer using the same process as beforeadd in some extra highlights below the positionthat the sun will occupy as seen in Fig 4. Youwill notice that my marks are quite rough butdo not be worried about that at this stage aswe are far from finished. When you are happywith the layer set the blending mode to lineardodge and leave it at full opacity – again thesmall inset shows culmination of layers so far. www.2dartistmag.com page v2 Elements : Water
  • 67. elementsWaterStep 5: Make a copy of this layer andthen add a gaussian blur similar to the amountseen in Fig 5. and keep this layer set to lineardodge.Step 6: So far I have only used onebrush to paint the highlights but to give thewater a shimmering quality I will need to use adifferent brush – in this case a standard chalkbrush. This will break up the edges of thelight reflecting on the surface and help createthe impression of a sun low on the horizon.Concentrate the brush marks near the horizonwhere perspective reduces the visibility of thewaves as seen in Fig 6. You will also noticethat I have added in a simple sky to helpcontextualize the water and show how the twoare co-dependant. www.2dartistmag.com page v2 Elements : Water
  • 68. elementsWaterStep 7: Using the chalk brush I have to do is select a dull pink with an RGB value water in the mid distance from a low sun andadded some marks across the water but of 146,134,136 and fill a new layer entirely. help the sense of perspective. You can see inconcentrating around the central section of the Then set the layer mode to lighten and erase Fig 8. On the left of the line where the layer hasimage on two separate layers similar to the areas near the base of the image and across been added compared to the right side whichway I made the initial highlights. I then blurred the clouds (Fig 8). This will produce the subtle is as it was.both layers slightly to soften the effect and the impression that more light is bouncing of theresult can be seen in Fig 7.Step 8: There is no need to really addtoo much more detail on the water now. Wehave reached a stage where we have enoughinformation to interpret the brush marks butnot laboured over them too much. The overallimage remains very blue and suggests analmost early afternoon light but as the sun islow in the sky it seems as though an overlaywould help imply an evening light. First thing www.2dartistmag.com page v2 Elements : Water
  • 69. elementsWaterStep 9: We are now going to add a warmer overlay across our sky and the lighter areas of the water. We can limit the areas we apply thecolour by going to Select – Colour Range and using the eyedropper to select the highlights. Once done feather the selection by no more than 2pixels and again on a new layer fill in with an orange yellow and set the blending mode to Colour at around 25% opacity. In fig 9. you can see againthe before and after effects of this and how the yellow has been limited to the lighter areas.Step 10: Last of all we are going to add one more overlay to the water only so that the sun is the brightest area in the picture. Choose a paleorange and fill in an area across the whole of the water and then set the blending mode to multiply at around 20% opacity. In Fig 10 you can seehow this looks before we change the blending and how it looks afterwards. On this layer I have erased some of the colour across the sky so thereare some cooler blue tones remaining in order to avoid too much uniformity. www.2dartistmag.com page9 v2 Elements : Water
  • 70. elementsWaterThat about concludes this tutorial and asalways refinements could be made buthopefully it will prove useful to many peoplewishing to paint seascapes. The final imagecan be seen above.Tutorial by :Richard Tilbury www.2dartistmag.com page0 v2 Elements : Water
  • 71. WaterfallChapter 11 : By Don Seegmiller
  • 72. elementsWaterfallPainting Rocks & StoneThere are many different types of waterfalls.They range in from small trickles of water toimmense and thundering rivers of water. Theycan be calming or terrifying. Each type wouldcall for a somewhat different treatment as youworked. In this brief demonstration, I will showhow I would go about painting a rather smallwaterfall. In this demo, I have used done themajority of the painting in Corel Painter andused Adobe Photoshop for a few final touches.The general procedure would be the sameregardless of what application you would use.Figure 1:You first need to begin with something to paintthe waterfall on. In this case, I have used arather strange rock formation that I paintedearlier. That in itself could be the subject foranother tutorial but for now, this is the rock weare going to paint a waterfall on. Figure 2: As the water pours over the rocks, it leaves moisture wherever it spills and you wan to get this effect. The simplest way to accomplish this is to add another layer, change its composite method to either multiply or gel and paint a darker layer. You can see in the image the initial values on the bottom of the rock and how they become more refined as I work them into the higher areas of the rock. I find that I will almost always lower the opacity of the layer and apply a slight blur. The amount of opacity and blur is strictly an individual choice. I leave this on a separate layer for the time being incase I want to make some changes as I paint the water. www.2dartistmag.com page2 v2 Elements : Waterfall
  • 73. elementsWaterfallFigure 3:This figure shows the wet layer after it hasbeen worked a bit more and blended. I alsodecide that there is not quite enough contrastor colour in the rocks themselves. To correctthis problem, I duplicate the rock layer, changeits composite method to gel, and turn theopacity down until I get just the right change incontrast and colour saturation. I go ahead andcombine the two rock layers into one.Figure 4:Using a chalk brush, I indicate the initial fall ofthe water stream on a new layer. I use coloursthat are picked out of the sky to retain anoverall colour harmony. I am not concernedabout detail at this point but just the overalllook. Figure 5: I continue to refine the water paths a bit getting some smaller streams pouring over the rocks. I try and not paint too thickly so that the underlying colours of the rocks still show through. www.2dartistmag.com page3 v2 Elements : Waterfall
  • 74. elementsWaterfallFigure 6: Figure 7:Using the same brush, I begin to develop the I work down the surface of the rocks addinglook of the “sheets” of water as they spill over additional white into my colours as the waterthe rocks. I refer to good reference materials bubbles and splashes. I try and make theto make sure the effect is natural. Remember, water take a path in the rocks that will feel likeall of this is taking place on the “water” layer. a natural flow in the cracks and crevices.Working in layers does make correctingmistakes so much easier. Figure 8: The water is not only white but changes colour as it flows in and out of the shadow. You can see at the red arrow points where I have changed the colour of the water to a blue that I picked out of the sky colours. If you do not make your water change colour as it flows in and out of the shadows, the whole image will look flat and will not help give the illusion of flowing water. www.2dartistmag.com page v2 Elements : Waterfall
  • 75. elementsWaterfallFigure 9: Figure 11:I add an additional layer and using the When painting objects like waterfalls, it is almost impossible to tell the scale of the object withoutvariable splatter airbrush, I paint in some something in the picture to give the viewer a sense of the size. In this case, on a new layer, Ibig splashes where the water hits the rocks. added the flock of birds. Now, you the viewer know that the waterfall is not very large and not justAlmost always, I will need to go back in with a trickle but maybe just 12-15 feet in height on the first tier. I do arrange the birds pretty carefullythe eraser and gently erase here and there to after painting them in.keep the effect from becoming overpowering.Figure 10:Using the digital airbrush, I add the mistyand foggy effect on a new layer on top of thesplashy layer. www.2dartistmag.com page v2 Elements : Waterfall
  • 76. elementsWaterfallFigure 12: I switch to Photoshop at this point to add a rainbow. Once again, on a new layer I create a circular marquee and fill it with acircular gradient. The gradient is custom build to utilize transparency. I reversed the order of the colours to add more strangeness to the scene. Thecolours are harsh, too saturated, and the placement is bad but since we are on a new layer, this is easily fixed.Figure 13: Using the Gaussian blur tool in Photoshop, I soften the rainbow. There is no correct amount and you will need to experiment toget just the right amount for your individual image.Figure 14: I scale the size of the waterfall down and position it where I want it. I lower the opacity to about 40% and also change theblending mode to colour. This gives me a very nice and subtle rainbow like you might expect to see with a waterfall. www.2dartistmag.com page v2 Elements : Waterfall
  • 77. elementsWaterfallFor the final touch I carefullyerase some of the lower part ofthe rainbow. The image is nowfinished.Tutorial by :DonSeegmiller www.2dartistmag.com page v2 Elements : Waterfall
  • 78. Introduction: Michel Roger’s famous ‘Joan of Arc’ tutorial re-written for Maya by Taylor Kingston, Cinema 4D by Giuseppe Guglielmucci & Nikki Bartucci, Lightwave by Vojislav Milanovich and Softimage by Luciano Iurino and 3DCreative Magazine.com. If there has been one single tutorial that has educated and inspired more budding 3d artists than anything else, this complete step by step project by Michel’s must be it. The community is in debt to him.These 120 plus page, Downloadable PDF’s aredesigned for ease of use to help beginners andintermediate level of artist alike in the creationof a female character. The tutorial takes youthrough the process of modelling, texturing andmapping to finally adding bones.Chapter 1: Modeling of the Body - BodyChapter 2: Modeling of the Head - Head, Ear & AssemblyChapter 3: Modeling of the Accessories - The Sword & Armour LegsChapter 4: Modeling of the Accessories - Armour Bust, Hair & GloveChapter 5: Modeling of the Accessories - Accessories & UVW MappingChapter 6: UVW Mapping - Sword, Clothing, Armour & BodyChapter 7: Texturing & Hair - Eyes, Skin & HairChapter 8: Bones & Skinning - Bases, Hierarchy & Skinning Image by Michel Roger for more products in our range visit http://www.3dtotal.com/shop
  • 79. Downloadable Tutorial EBookIntroduction:The original character of the Swordmasterwas created by Seong-wha Jeong and wehad 3DTotal’s in-house 3d artist RichardTilbury, re-create the character in 3dsmaxas well as create the textures in Photoshop,in our new precise, step-by-step tutorial forhighly polished, low polygon game characterwith detailed texturing for real-time render-ing. We have also converted the tutorials intoCinema 4D, Maya, Lightwave and Softimageplatforms. Even if you are not a user of one ofthem, the principles should be easily followedin nearly all other 3D applications.The Swordmaster tutorials is spread over 8Chapters which outline, in detail, the processfor creating the Swordmaster below are thedetails. image by Seong-wha Jeong Chapter 1: Modelling the Head Chapter 2: Modelling the Torso Chapter 3: Modelling the Arms & Legs Chapter 4: Modelling the Clothing & Hair Chapter 5: Modelling the Armour Chapter 6: Mapping & Unwrapping Chapter 7: Texturing the Skin & Body Chapter 8: Texturing the Armour & Clothing for more products in our range visit http://www.3dtotal.com/shop
  • 80. : volume 1 Introduction: The ‘Digital Art Masters: volume 1’ book, is a collection of work from artists which have featured in the gallery of 3DTotal. Spread over 192 pages, the book features some of the finest digital 2D and 3D art- work that you can see today, from artist as Natascha Roeoesli, Philip Straub, Rob Chang, Jesse Sandifer, PiSONG, Meny Hilsen- rad and Ryan Lim and many more. More than just any other gallery book, each artist has written a breakdown overview, each with supporting imagery of how they made there piece of work. The first book in the “Digital Art Masters” series, contains work by the following artists:André Holzmeister, Andrey Yamkovoy, Balazs Kiss, Cetin Tuker, Daniele Montel-la, d’Ettorre Olivier-Thomas, Donald Phan, Drazenka Kimpel, Egil Paulsen, EricWilkerson, Fabricio Micheli, Francisco Ferriz, Fred Bastide, Fredrik Alfredsson,Haure Sebastien, Jesse Sandifer, Jorge Adorni, Juan J. González, Juliano Castro,Khalid Abdulla Al-Muharraqi, Landis Fields, Laurent Gaumer, Laurent Ménabé,Li Suli, Linda Tso, Marcel Baumann, Marco Siegel, Mariska Vos, Meny, Hilsenrad,Natascha Roeoesli, Nicolas Richelet, Niels Sinke, Norbert Fuchs, Olli Sorjonen, Omar Sarmiento, Patrick Beaulieu, Philip Straub, PiSONG, Richard Tilbury, RobAdams, Robert Chang, Romain Côte, Ronnie Olsthoorn, Rudolf Herczog, Ryan Lim, Siku and Thierry Canon for more products in our range visit http://www.3dtotal.com/shop
  • 81. Introduction: A Collection of the finest independent animated movies and commercial trailers. The DVD includes work from a whole number or different sources, such as students, independents animators and commercial studios. We want people to be able to view this wealth of elite animation in one conve- nient high resolution package whilst generating much exposure for these talented artists at the same time. - Running Time: 3hrs 8 mins - 27 Shorts movies - 6 Clips & Trailers - Region Free, NTSC & PAL versions - Shorts & trailers from artist and studio like: Blur Studios Brian Taylor Marco Spitoni Patrick Beaulieu & Alex Mateo- Running Time: 3hrs 8 mins- 27 Shorts movies- 3 Trailiers- Region Free, NTSC & PAL versions- Shorts & trailers from studios such as: Blur Studios Keytoon Animations Studios Redrover Studios & Platige Image- Loads of extra including images and storyboards for more products in our range visit http://www.3dtotal.com/shop