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Posted at August 9, 2006, 3:53 pm: Demo by an Idiot: Nothing special, my buddy evildisco had some questions and I figured they would perhaps be best answered with a demo - so I figured I put a little more effort into it and hopefully help out some others as well. I don't think it's very advanced or anything hopefully it can help out some beginners maybe? ... hell I wonder if I answered any of his questions... Speaking of which - any questions come up go ahead and post them here, I'll try and poke my head in. Hmm, you can probably tell I need to get myself into some life drawing sessions Oh and do note, this is only one way of doing things - and only my current way of doing things such as this. The lines are evildiscos of course! Check out his current sketchbook here: http://www.conceptart.org/forums/showthread.php?t=73302 And uhh, check out mine here : http://www.conceptart.org/forums/sho...&goto=lastpost PSD: Sorry, it's megaupload - real pain I know. File exists "forever" or if no-one downloads it for a period of 21 days. You'll have to close a little on-screen pop-up in order to find the download button. Link: http://www.megaupload.com/?d=K3W64TJ0 Someone send me a PM if it goes down ok? Oh, loads of layers too - tried to keep things really seperated so you can get a better feel of what's going on. I wouldn't normally use so many and probably would have flattened it several times too. Brushes: For the entire figure I used only one brush, just a default round. Settings are as follows - Opacity = 100% Flow = 100% Pen Pressure with: Size, Opacity and Flow I find having size, opacity and flow set to pressure gives me a much more natural feel to the stylus, not to mention it is much quicker to be able to adjust the size of the brush and essentially how much paint it puts down with just pressure. I do however still find the need to adjust size manually, especially at the beginning block in stage where I think it is best to work with as large a brush as possible. (Keyboard shortcuts are [ and ]) I recommend having these set on your tablet (intuos) if possible. I constantly adjust hardness as necessary to the strength of edge required with shift+[ and shift+]. The only other brush I used in this demo was on the fabric and was a chalk variant I stole from BaRONTiERi and modified a little... and I think it looks dumb in this demo Brush is attached at the very bottom... it's nothing special but maybe someone can't figure out how to set it up? @_@ One - Cleaned up the lines a little bit, no brushing just adjustments. Little bit of levels, little bit of contrast/brightness. Suppose I could have put this as an adjustment layer in the PSD but yeah, didn't think of that. Anyways, the idea was to get an overall pure white on the canvas and to keep as much detail as possible. Pure white is important because later I will need to be able to color pick cleanly. For those of you who may not know, you can color pick - the eyedropper tool - using alt on the keyboard. I have it both on my tablet's button and my stylus's switch, much faster. Ok, lines are now set to multiply and I've created a layer underneath these lines to paint on - in fact up until just about the end here we will be working underneath the lines. This will help keep the drawing accurate and the process generally quicker. I've chosen a red ground, background - toned canvas - whatever you want to call it. Lately I've been having fun and choosing the color I want mostly at random. It can create some nice effects. Here however I did have in mind a sort of analgous color scheme - the red to match with the skintones. I should be more careful in this stage perhaps, this really affects how you see color so... it can really mess you up a bit - or if you know what you are doing it can really help you out as well I think. As I finished this, I looked back and thought I could have avoided some troubles I had later on if I had gone more saturated - but that's just one look of many. It's a bit... mmm personal choice perhaps? Depends on your vision I guess. Two - Blocking in just big simple shapes, she's nude so I have just two big ones right now. Here I am kind of thinking of local color, however with a bit of a twist. I chose a color perhaps a little more dim and a little more red than what I'd normally think of as skin - dim because I am going to be adding the lit areas later, and the shadowy parts too; a little redder because, I mean did you see the background - even though it's just a background I think subconsciously we will feel that it should have an effect on the subject, almost as if - no I think it's proper to think of your background as a sort of ambient lighting. Now I did the skin on a seperate layer from everything else - if this was a more complicated subject, say had multiple articles of clothing, I would most likely do each block in on a seperate layer. Save yourself a little time with things like that and only draw in your borders once - say if she was wearing a shirt I would perhaps block in the shirt first and then underneath that layer I would be able to essentially ignore the border between the two and quickly block in the surrounding skin. I recommend blocking in different local colors on different layers for an important reason - this makes it very easily adjustable. In the case of the skintones here I felt it could perhaps be a little more red and a little more saturated so I opened the hue/saturation adjustment window (ctrl+b) and adjusted the hue and saturation - perhaps brightness as well. On a more complicated subject this will help you decide upon and tweak a good color scheme. Three - Deciding upon your lightsource: Use your lightsource to tell the story, what do you want to show off? It may not be as simple as pointing your lightsource where you want it at times, but always have things like this in mind. Or, use this to your advantage to keep things simple if you wish to study other things in a painting - but that's probably best kept to study I imagine. So, basically just blocking things in again - this time in relation to my lightsource. Brush is one or two settings softer than 100% hard. Here I am taking advantage of opacity and flow set to pressure in order to sculpt the form a little bit. Four - Lil' bit of blending: Not entirely necessary, can be skipped I suppose. Sometimes I do find it better to blend in steps rather than all at once - keeps things from getting muddy and can help you figure out the form eariler on. Basically helps avoid mistakes. Brush was a bit softer than before and I imagine so was my touch (pressure sensitivity), still fairly large of course. Five - Looks like I decided to add some deeper shadows before I went on here, little bit of sculpting and edge refinement as well. Most likely the same settings as the previous step. Six - Same as step three really, just adding more light. Uhm, hmm - color theory to try and explain my choices would take all day I think... and it would perhaps be only one answer, better to find your own I'd say. Seven - More blending, more sculpting, more edge refinement. Eight - More blocking in - adding more light to the hopefully proper areas. I skipped the rougher stage here and just went with a softer brush, probably not best to skip the rough stage I dunno O_O. Working on the vignette as well. Nine - Refinement, added that ugly looking fabric ... man that was a mistake... Ten - Uh oh, dirty little secret time! Painting wasn't matching up with what I had in my head, time for some dirty edits. I believe I included these as adjustment layers so you can check them out in more detail. Color Balance and Selective Color were used I believe. You, hell I - should be wary of these tools as crutches, try and use them only as "training wheels" instead, and also to just plain experiment - you can get some radically different results if you know what you are doing. Even if I am satisfied with how things are looking I will still usually experiment with these editing tools and will usually come up with something even better. Eleven - Ok, now I am painting above the lines. At first I was only going to paint over the lines that were "unnecessary", guidelines etc, but I was having too much fun Lots of thought here into proper form and edges of course. Man, that face was really bugging me... still is. Twelve - Working on the composition as a whole, adding in some relfected light, reworking the vignette a bit. Thirteen - The face was really bugging me.. still is - lil' bit of blending here too. Fourteen - Working on the overall composition again, taking out some of the heavy black lines that were distracting. Added some more of that ugly pink from the fabric so it wouldn't look so odd by utilizing repitition. Final - More color edits - what? I wasn't happy yet... like I mentioned before I think I could have avoided much of this problem if I had started the background out more saturated. Oh, and a crop! Just 'cause I like it better; and some selective sharpening too. The End! Well, I told you; nothing special really. I need to study me some anatomy for sure, and faces... damned faces.... and I should use references... Edit: hmm, her chin is broken for sure... Edit: I've been getting some questions about blending. Besides just using a soft brush, keep in mind what a blend really is - a junction (junction? whaa?) of two shapes, it's all about edges. Try using a soft brush but not actually painting with the center, paint with the sides and edges - also try a large large brush at times - again, just using it lightly and with the edges. Original of the message was taken from http://www.conceptart.org/forums/ Replies:real nice demo/tut man.Thanks Tom for this demo. Like I'm about to tell these guys, any questions you may have let me k... That brush you gave is awesome Tom, works like a charm, regardless of ... Hehehe, it is a bit inconspicuous though. hey man thanks for the tutorial, nice to see what your process is. Awesome. Great, glad it's helping some people out. Thanks bro for the tut. Mm, k - what about enviro's do you think I can talk about? Also - add... thanks man for taking the time to do this, very useful to me. Thank you so much for sharing your painting technique. Yeah no sweat guys, what's next? Definitely a real sweet demo. Ok, evildisco asked if I would do a little demo on how I've been doing... Added PSD for this one: http://www. Man Im trying, trying hard. Heheh, thanks for the suggestion - I'll do what I can for free right n... thanks for the quick reply, and I did, I am and I will. Cool man, as soon as I replace my OS harddrive I'm going to try and ge... Other Topics of ConceptArt.org Forums:Animals: Creatures and Monsters• NEW ENVIROMENT• July 12th!!! • Mr.Blonde's Book SSG 27 - The Legacy of Sketching New here, here are some of my works Denmark, or Sweden or.... Scandinavian UNITE! Cammy White (sf2) redesign Creatures awesome book for drawing/painting, etc free.. Naked chick! 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