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2DArtist Magazine. 2DArtist: Issue - January (Download Only). You did not add any gift Author: ronaldweinland.info Ltd Format: DOWNLOAD ONLY PDF. Download 2DArtist - March magazine for free from ebookbiz. To download click on the following link. 2dartist magazine. 2dartist 21/03/ Gallery February · 2dartist 10/03/ Inside the February issue of 2dartist · 2dartist 02/03/ Capturing enchanting.


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Title: 2DArtist- Issue Jan08, Author: Ceci S, Name: 2DArtist- Issue Jan08, Setting up your PDF reader For optimum viewing of the magazine, it is. 2dartist magazine is available as a downloadable PDF magazine. If you have an iPad or iPhone, you can drag your magazine into your iTunes library – it will. Sadly 2dartist is coming to an end but the final issue is full of brilliant features! Read interviews with Format: DOWNLOAD ONLY PDF Size: MB Pages.

For and Pixar. In addition to his day job, Noah tips for developing your drawing skills. Thanks for talking to as developed and illustrated picture books. First off, could you introduce yourself and two further books yet to be released. To keep his drawing skills sharp, Noah also Noah Klocek: Im the son of two artists who incorporates plein air drawing practice spent their professional lives as educators. My parents did encourage me to be an artist at heart though, by making sure I always had a love for art as well as books and the materials to make art as I grew. NK: The basis of my visual storytelling process is research.

Carnivore Dinosaur Stylised Animal Challenge 1st: Jonatan Iversen-Ejve Step I started out with a very rough sketch of what I had in mind, with a low opacity in Photoshop CS2. Originally it was supposed to be another herbivore: Kentrosaurus, a dinosaur pretty similar to the Stegosaurus, but it became so Stegosaurus-like that I took the easy way out.

With this new approach I tried to incorporate what I believed represented the species, and thus made it compact, clumsy, dense and friendly-looking. These days I rarely make very detailed sketches, and this was no exception. I find it exciting to see how it develops once you start painting! Step I wanted to put the dinosaur in a setting and yet keep it simple, so I decided on a desert-like eroded wasteland.

Warm colours in the front and colder in the distant mountains created a sense of depth in the picture. I also laid down the base for the painting of the dinosaur, which, looking back at it, was pretty sloppy.

I knew at the time that I would have to erase a lot of it later though Fig On with the painting! After some very basic painting underneath the lines, I soon started to paint over them. I focused on the head to get it the way I wanted, as well as starting out on the lighting. I added warmer colours to the nearby ground, edited the direct light and added some texture to the skin.

Then I created a layer upon it, set it to Color Dodge and painted with warm colours in that area. This way you can easily add more saturation and create better values for your lighting! The legs bugged me a lot so I pretty much re-drew them completely from scratch to give them a better footing Fig I then realised that its plates needed some work. I made them rounder, more colourful and.

Final Step: In the final step I started to clean up and tighten the picture overall, adding the last touches to it. The ground and the background got some more details as well. Then I wrapped it all up by first adjusting the colours of the picture to my liking, by playing around with some layers set to Color Burn and Overlay, until I got a warm hue that I was satisfied with.

I also added a texture layer on Overlay in this case an old and yellowed paper for a nice effect, and sharpened up the picture so it really looked finished Fig If yourCustom value scheme is Brushes Save Us strong, you should get desired results no matter what colour scheme you decide to use Before I begin, I have to stress that textures should be saved until last — all of the forms have.

Shape Dynamics Pen Pressure: OFF Opacity: Pen Pressure This is the basic round brush, which is the one I primarily use during the painting process. It allows me to paint the forms fairly quickly.

Brush 2 Fig ON Opacity: Pen Pressure This is the brush I use to go into more detail. Pen Pressure This brush is great for painting hair and smoothing out brush strokes. Using a reference as a guide, I quickly cover the darkest and lightest parts of the image with a very large brush.

Our goal here is to establish the form of the figure fairly quickly, without. Save Us Custom Brushes the face. I do the same thing for the hands and folds as well. For more smoother results, and to help bring some subtle texture to the image, I use a speckled brush for the blending process. I always work in many layers and proceed to flatten them during the painting progress for desired results.

For this image in particular, only two main layers were needed: When I have a decent colour scheme going, I move on to the bush creation. The first thing I do is open a new document and create a new layer. With a pure black as the foreground colour, I select a fairly large custom brush and paint. Now, and this is very important, I switch to the Eraser tool.

I erase several spots at random, using some fairly small brushes, until I get an interesting effect. What you really need to do to get desired results is have some interesting textures going on, while the contrast remains relatively high.

Here are my results from the random scribbles click here to download the texture brush set or download all of the brushes at the end of this tutorial Fig I use this method, starting off with a haphazard large brush and erasing it to create some interesting texture and depth, to create several other brushes. The brush in Fig06 is primarily the one used for the rock texture throughout the painting process. Blending Modes To get the most out of the textures I create several new layers in the Textures folder.

All of these layers are set to different blending modes,. We Treasure a Good Eye. Volume 1: Chapter 1: Painting Eyes Chapter 2: Painting Fabric Chapter 3: Painting Flesh Wounds Chapter 5: Volume 2: Painting Sky Chapter 3: Painting Skin Chapter 4: Painting Trees Chapter 5: Painting Water. Welcome to the Speed Painting section of the magazine.

Here we feature the final paintings and the overview of the creation processes. I decided to paint a six-legged steam powered spider kind of mechanical device with big weapons. The environment is going to be set in a cave, or something. I start by blocking the colours in with a bold brush. I also paint in the silhouette of the destroyer and the other stuff around of it.

I use warm colours because I want a nice dusk-hour feel Fig Step 3 After determining the light sources I start detailing with bold brush strokes. Step 4 This step is the same as the previous step. I start to add the minor details now, like the grills of the destroyer and the rock columns at the back, and give some more form to the objects.

I also add a few more minor light sources Fig Final For the final step, I zoom in at last and tweak some details, add bouncing lights, and so on.

Emrah Elmasli For more from this artist visit: Introduction After thinking about the topic for a while I started imagining something that would be suitable for a younger audience I then thought that it would be more fun if it was a big robot, yet still friendly. Speed Painting Steam Powered Mechanical Destroyer maybe a bit more of an unexpected approach to the subject title.

I have interpreted the theme more like a concept artwork than a painting, so please treat it as such. Step 01 Before starting to draw or paint the full-sized concept with details and all, a great and quick way to find your design is with a few small thumbnail sketches. This allows you to focus on the general shape, the silhouette, and the overall feeling of the concept. After a short. I also put in a sloppy human figure to get a feeling of scale. Working a bit further with it I find a design and feel that I want to see a fully rendered version of Fig Step 02 Using the thumbnail as a reference image, and keeping the main subject and the background on separate layers, I start to sketch the robot from a more interesting angle and in higher resolution.

I find that the main challenge in this part of the process is to achieve the same feeling in the perspective image as with the thumbnail. Adding some more volume and details to the robot, and some brushstrokes to the background, I try to find the kind of lighting and contrast I want for this image.

I add some highlights just to remind myself where the main light source will be Fig I pause here, thinking about the impression I get from the robot. Creating a new layer normal mode , I start painting directly with colours, and soon I see something closer to what I had in mind Fig This would go well with the overall positive feel I was trying to achieve, and the background would be where I could suggest it Fig After that was done I felt ready to start working on more detailed shapes and texture Fig Adding more details and rendering Fig I put a few strokes on his head as well, trying to figure out what I want that part to be like.

Step 06 Finally I approach the face of the robot. I considered having the robot being driven by a man for a while with the head as the cockpit , but with the current scale of things I had trouble making the chauffeur read clearly, so I dropped that idea and went for a kind robot face instead. This also helped strengthen the overall positive feel. I put down some more work into the firebox, showing more clearly that it was something that could open and hold burning coal.

Background details were also added, as well as some stripes on the robot, and then he was done! Daniel Ljunggren For more from this artist visit: 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. Digital Painting Tutorial Series: Heat Waves Before we begin painting, we need more information about the subject. In this case we have to transform this image into a warm desert.

The first thing you have to do is find all the material you can get from Internet about the subject: From this material, check the type of colour schemes that usually have a desert-like, warm environment.

If you check one of your reference images you will see that the colours are usually warm orange hues in this type of environment. Open your base painting and check if you have something to modify, which in this case is the base painting Fig This particular base image is perfect for this brief: The first thing we have to do is change the colour scheme of the entire image to orange.

Go to the little round icon in the bottom of your layer windows, create a new adjustment layer, then select Color Balance. Adjustment layers can be used for making many types of adjustments to your work, without actually doing anything to the original layer. This is perfect if you have to do modifications to your final image, so remember that these kinds of layers allow you to make. Heatwave Elements non-destructive corrections to your images.

For example, if you create a Curves adjustment layer, you can go back to the Curves dialogue box later and change the settings at any time! In the Colour Balance dialogue box, select Shadows and move the Cyan value sliders to , the Yellow values to , and leave the Magenta and Green values at zero. What do you think? Go to the little black and white round icon and select Levels.

Into the three input Level boxes put the values: Create a new layer and move it below the sky and the adjustment layers, select the default round brush and paint a cracked, dry earth near the trash can. If you prefer, paste a texture instead of paint, but remember to change the blend mode of this layer to Pin Light or Hard Light, with a low value opacity Fig In this. With the Eraser tool E , erase, with a soft round brush, the contours of this flipped farm. If you change the blend mode of this layer to Overlay you can see how the reflection looks more real!

So, press the Quick Mask mode ic on in the tools window or press Q on your keyboard , select the Gradient tool and select a Foreground to Transparent gradient. Change the gradient from Linear gradient to Reflected gradient and paint — with black — the horizon line, as you can see in the next image Fig Now go back to Standard mode again Q. You still have the selection from your quick mask mode, so press Del and erase the selection. Why do we make all this mess? Carlos Cabrera For more from this artist visit: He will also have Lowtwo Atmosphere Creature Evolution necks, to double the volume of air coming from the nostrils on the head Pascal Raimbault takes us through the creation of an evolutionary creature from a planet with very little atmosphere Gathering Information: The higher the altitude, the lower the pressure and atmosphere should become.

Existing animals that live in high mountains, like llamas and deer mice, have adapted their physiology in order to survive in such extreme conditions. This could therefore be a good starting point to find design ideas for our creature! Here is a website where I found some interesting information: This means that our creature could have a reddish skin colour.

They also need less food, so our creature could be skinny. The depth of respiration increases, which means the creature could also have a large rib cage. The body produces more red blood. We could possibly even add nostrils all over the body! He will also have two necks, to double the volume of air coming from the nostrils on the head. Most of the time, when the atmosphere is low on a planet, the gravity is also low. Our creature could therefore be adapted to this condition, as well. He could be jumping very high into the sky and may even fly using membranes, just like flying squirrels!

The Pterocephalys will therefore need strong thigh muscles to be able to do this. This gives us an indication on the proportions of the Pterocephalys. It could be something between a bird and a squirrel, for the legs. Sometimes I scan a traditional sketch done with pencil and put colour on it with Painter.

In this case I will start directly in Painter using the pencil brush. The Pterocephalys will be able to walk and jump, but he will not be a good runner at all Fig I am going to refine the sketch a little bit here now. Here I am focusing on the head a little more. Huge nostrils and smaller ones are also added to the face. I am also adding a quick rock to make me think about the environment, as well Fig Here I am adding rough colours and reusing rocks from a photo I took in New Zealand, in order to get a sense of the lighting and environment.

I am using 3 layers at this stage: Evolution Low Atmosphere Creature airbrush for the sky and the round oil pastel with low opacity to add colour over the character. I am pretty much detailing the body by going down the neck and rib cage.

I am mainly using the oil pastel for details and the airbrush to get more of the volumes. I want this creature to have holes all over the body and a fleshy feel to the skin. It has to be skinny also, as mentioned previously. I am using featherless chicken and furless cat photos as reference, to get ideas about skin rendering and skin folds Fig I need to re-work the lines to get a clearer idea of his anatomy before adding details.

I could have focused on the lines first and just done a black and white first pass on the whole thing, but I am more used to playing with the colours very early on in the process Fig Step 7: Here I am adding volume and details to the legs using the same tools, and also using the Glow tool to get a warmer highlight colour for the sun Fig Step 8: Now I am painting over the rock photo so that it blends in more with the rest of the drawing, and also to be able to tweak it more easily — eventually Fig Step 9: Here I am just adding shadows under the feet and details on the lower part of the body.

Cerebral fluid has also been added. It is kind of floating in the air because of the low gravity Fig Because this creature has holes all over his body to excrete liquids, it makes sense to add more of a wet skin shade. The neck shape was a bit too straight and it was not looking organic enough, so I changed it a little. This creature has so many holes on it that I wanted the lower neck to look almost like an external organ. I cropped the image so that we could get a closer look at the creature.

I also removed some rocks underneath the right knee. Here are some photos which I found on the Internet Fig12 that I kept in mind whilst creating this creature.

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I did not reuse them directly in this painting as a matte painter would usually do except for the rock , but I found them inspiring for this particular creature design. Zoo Publishing presents the new issue of magazine: When you see a colour, you are essentially seeing reflected light Joel Carlo brings us the second section of a 3-part tutorial series, covering certain elements which are fundamental to drawing the human form Part One: Issue Moving right along, we continue with the second instalment of this three-part series by expanding into what could be considered the most complex of all the seven elements: Colour is of, and in itself, an immense topic and one that can hardly be covered over the scope of this article.

However, my aim is to explain the fundamental basics of colour to you in the hopes that you leave with a better understanding of how colour can be used to accentuate what you may or may not already know. For the lucky few who have a seemingly innate understanding of the subject, this article will probably seem a bit simple in its presentation, but for those who struggle with colour and its application I believe it will help to shed some light on the matter. Speaking of light, colour is exactly that: When you see a colour, you are essentially seeing reflected light.

When light waves fall on the surface of an object, two things happen. Some of these waves are reflected and some of these waves are absorbed.

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The light we see is what has been reflected. Take, for instance, an apple Fig As light falls on the surface of an apple, the apple will absorb certain wavelengths and the wavelengths it can not absorb are reflected. If the apple is red, it is reflecting a range of red wavelengths. If the apple is green, it is reflecting a range of green wavelengths.

Keep in mind very few objects exist that will. At night,. Think of a forest, for example. During the day, when light from the sun is abundant, we can clearly see a wide spectrum of colours within the forest.

The forest is reflecting a small range of wavelengths because of the scarcity of light surrounding it. Brightness is the degree of lightness or So now that we have an understanding of how. Whilst hue, brightness and saturation are what we use to describe a colour, a colour wheel Fig03 is often used as a representational arrangement of the available colours in the colour spectrum.

These colours are broken down into primary, secondary and tertiary relationships. Primary colours are colours which cannot be created by mixing other colours these are red, yellow and blue Fig Secondary colours are those colours created when two primary colours are mixed these are orange, green and purple Fig Tertiary colours are those created when a primary and secondary colour is mixed Fig Although a colour wheel can be used to better understand the relationships between colours, it can also help us pick colours that create an overall harmony within a colour scheme.

While many colour schemes do exist, the most basic of these schemes are known as complementary, analogous and monochromatic. Complementary colours are colours opposite of each other in the colour wheel colours that compliment each other can be red and green,.

Analogous colours are adjacent to each other within the colour wheel think of these as neighbouring colours such as orange, yelloworange and yellow, or blue, blue-violet and purple Fig Monochromatic colours are all the tints and shades of a single colour Fig As I stated earlier, the topic of colour in its entirety would simply be impossible to communicate over the length of this small article.

Colour theory in itself is a vast subject and can seem extremely daunting for those who find it hard to comprehend.

If you are one of these individuals and are interested in achieving a better understanding of colour, there is a wide variety of literature available which covers the topic extensively.

Some recommended reading would be Vision and Art: The Biology of Seeing by Margaret Livingstone ISBN , which has helped my understanding of colour dramatically and is an invaluable book which I reference regularly. The key to grasping colour is in recognising the relationships and effects colours have amongst themselves. In the next, and final, part of this series I will touch on the last three elements of art: See you next month! Joel Carlo For more from this artist visit: First of all I did some quick thumbnail sketches with different poses, which is a really fast way of trying designs out and making a strong silhouette.

2DArtist – Issue 135 – March 2017

When I was pleased with the results, I scanned and printed out a larger copy of it, then used translucent paper to trace over it with a ballpoint pen Fig I tend just to play around with the colours until I find something that I think works and would be fun too work with. This step I find quite fun actually; here you get the opportunity to describe your forms with light and shadow and, as I tend to do pretty often, come up with new forms and design elements.

Here, again, be loose with it! Just play around with the forms and see what you like about them. I also introduced red into the colour scheme to break it up a little Fig I made some changes to the anatomy and design elements, such as his haircut which I kind of liked before but I wanted to try something new, and I was pretty happy with the result.

I added a new light source to the image when I made the sphere glowing, which means that I had this new light striking lots of surfaces, such as his face Fig Dramatic changes! I refined the details of the image, such as the hair, shoulder pads, wings and the chain hanging from the wing. When I make big changes such as these, I always keep in mind the composition and try too improve it as much as I can repeating shapes throughout the image helps a lot in making the image consistent.

Syndaren Exotique Making of alive throughout the whole process I changed the design a lot! Here I felt that my piece needed a little more depth, so I added some elements in the far background. I realised that the image was squeezed into the frame, so I expanded it a little to the left to balance things out. I wanted it to look like it was somewhat organic, but still not too soft and also with some kind of a shell thing to keep it consistent and not floating away all over the place. Even if I do just a character sketch, I like to put them into an environment and also make it somehow.

Okay so here I knew that I was pretty pleased with the result and that it was time to wrap it up, so I added and refined the last details. As you can see, even this far into the image I was still making even more changes to it, which makes it a whole lot more fun to work on! For me, everything is pretty much about balance Just imagine yourself painting an image and just doing the labour — just refining the forms more and more and adding details I mean, sure, this needs to be done, but why not play around with it a little as you go?

Robin Olausson For more from this artist visit: Have your 2DArtist Magazine Download link delivered automatically to your inbox every month Introduction I am a sci-fi fan and I like the appearance of space ships, with a strong perspective.

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I decided to make a large ship hovering over the sea, and in the back of the painting I thought about adding a small, normal ship in order to achieve the correct proportions and to have a good visual impact. I am happy with the final result because I worked on this piece with only a mouse, not with tablet, and it was all created in Photoshop.

For the spaceships, the classic sci-fi movies like Star Wars and Blade Runner, amongst others, inspired me. To begin, I will explain how I started this piece.

To start, I chose a good, strong perspective — one to make the visual impact more clear Fig After the sketch was down, I moved on to work and started building the clouds Fig I used photographic textures of clouds and combined them to make something very atmospheric. The next step was to mix them to become just one part, using the Eraser tool, the Dodge tool and the Burn tool. The result can be seen in Fig02, Fig03, Fig04 and Fig Now I will show you how I built the spaceship Fig I cropped parts from the engine and combined them, using the Eraser tool, Dodge tool and Burn tool, to make the dark and the light parts of the space engine.

For the larger part of the ship I used a part from a navy ship; I stretched it, cropped it, duplicated and combined it, as shown in Fig08, Fig09, Fig10 and Fig The next step was to start adding elements, like the water, rocks, and small photographic textures combined, to build the full composition. The process was not so simple though because every layer had a different colour. I made a lot of layers with pass colours and painted fog for the added depth. At this stage, however, the lighting still needed.

By the Sea Making Of a lot of work. To set the light in the scene I duplicated the final composition in three layers: With the lighting sorted, I came up with my final image. Thank you very much for reading this making of. I hope you will find it useful and learn from it. If you have any questions, suggestions or critiques, please feel free to drop me a line. Adrian Baluta For more from this artist visit: The book is more than just an artwork book, as not only does it feature full-colour, full-page images, but each artist has described — in detail — the creation process behind each published artwork, in their own words, especially for this book.

Plus Loads More! Is a company publishing downloadable PDF magazines. On top of that, we have included a free custom brushes library that is available to everyone. We wish LayerPaint to be a definitive resource for digital painting, creating a friendly and educational environment that not only helps budding and experienced CG artists alike, but also showcases some of the best computer generated artwork in the world.

River Dragon Efflam Mercier Software used: Photoshop Year created: Untamed Nature ExidiumCorp Software used: Overgrown Theatre Ryan Ingram Software used: Last Chance Alex Heath Software used: Prototype Laura Sava Software used: Scan Computers www.

All rights reserved. Other names are for informational purposes only and may be trademarks of their respective owners. System Description: AMD Driver Photoshop Houston Sharp currently works as a freelance concept artist and Illustrator for films and videogames, when he is not in-term at school.

COM portrait painting process! Speed up your portrait painting process with the use of custom brushes Custom brushes in Photoshop are powerful tools that can help you achieve certain effects, save time, or simply provide a new way to apply paint. This tutorial will cover how to create and utilize different types of custom brushes for different sets of tasks within a portrait painting. When I work digitally, I tend to approach the painting as if I am doing it in oils, at least initially.

When the time arises to create and use custom brushes, I will utilize them in a way that does not compromise the painterly approach to the piece.

Aside from creating and using custom brushes, other topics covered include: Hopefully you will learn something new about creating custom brushes from this tutorial. Building a sustainable framework: This is also the case with us illustrators.

In this case, I explore compositions by sketching in only big black and white shapes, instead of doing line drawings. This not only establishes what type of subject I want to paint, it lets me see the value grouping of the composition as well. I also do many separate color sketches to settle upon a color scheme. Creating a mess: I begin my paintings with a warm, vibrant mess of color.

The colors also show through the brushstrokes I put on top of it, which creates a richness in the colors that can be seen when the painting is complete.

Instead of drawing the idea I came up with in my sketch onto the new canvas, I can simply drag the value sketch onto this warm layer and set it to Screen mode — an instant value-grouped underpainting! There was another reason for not doing a line drawing in step one!

Sticking to the shadows: Starting with the shadows and working your way towards the light is not easy when inventing your own colors and values, but it is rewarding. While painting the shadows, I try not to let myself get too uptight. As a general tip for inventing your own color, contrast warm light sources with cool shadows. Also, be sure to maintain your overall value shapes.

Let there be light: After spending a decent amount of time establishing the shadows and dark areas, I do the same with the light. For instance, is this part of her cheek slightly more orange than that part? Is this part slightly less saturated than that part? Cooler or warmer? Once again, consider the color and direction of the light source. To do this, open a small new document my default for making brushes is x pixels at dpi and paint what you imagine the tip of one of these brushes might look like if you were staring straight down the tip of an actual brush.

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Custom brushes: Here is where I will put energy into creating and using a special custom brush. I want a silkier brush to slap on my paint for the hair.

This silky brush was created simply so I can paint with a softer, flowing touch. Long, flowing hair is, after all, usually pretty smooth and soft.

I use it on her forehead, for example. Back to the framework: For these problem areas, I create a layer on top of everything and simply draw it out. I not only plan out the form of the warping fabric, but the shadows that they cast as well. Separating light and shadow: After drawing out the complex folds of the fabric, the next step is to paint the overall shadow shape and overall light shape in their own respective new layers.

The way light reacts with the type of fabric that I plan on painting is very complicated, so it is best to start with the big shapes and work my way into the little variations within them. Establishing shadow colors while staying within the confines of the big, dark value-grouping Establishing colors of the lit areas while staying within the confines of the value grouping Creating a silky custom brush to block in soft materials, such as hair Using the newly-created silky brush to block in the colors of the hair and face Drawing out the complicated fabric folds and their resulting shadows Simplifying the fabric colors into simple shadow and light tones in separate layers.

Those variations are made simpler by having the light and dark masses on their own layers. Create a new layer for the variation above the light or dark mass-shape layer, and then link it by Altclicking between the two in the Layers window. Being lazy a. I am now in need of another custom brush, but this time it will be used for making repetitive objects less tedious to paint; the condensed ruffles at the top of the blouse, in this case.

On another small blank document, I paint the shape of one ruffle, and define that as a brush preset. It needs to look organic and natural. Color correction: Throughout these steps, I am constantly jumping all over the place in the painting, going back and forth, refining, and repainting.

At this point in the painting, I realize that the skin is looking a bit too yellow when compared to the color sketch I did in step one. In order to fix this, I create a new layer and set it to Color mode on a low opacity. Background check: The background was feeling sort of flat and uninteresting, so I change it at this stage.

I add some warm tones where I want the cools to pop and some light tones where I want dark shapes to pop. Simplicity — or simplifying, rather — is the key to successful compositions. Paintings can have complex narratives and a lot of objects or figures, but if they are not arranged or grouped well, it will be too chaotic and the viewer could become overwhelmed.

Values, on the other hand, are incredibly important. If your values are flawless, you can use practically any colors you want and your image will still look good. Custom skin brush: Using the same steps as before, I create a brush that can be used to apply subtle texture to the skin.

A few simple dots on a small blank document, enables scattering and a bit of color dynamics all found in the Brush window , and the brush is ready to be used.

The magical brush: The great part about the skin brush I created in the previous step is that it can be used as a hairstrand brush if the settings are tweaked. Simply turn off scattering, lower the spacing significantly, and set the Jitter size to Pen Pressure. And voila! For creating different densities of hairstrand brushes: Last piece of the puzzle: The composition still does not feel complete to me at this point. While in the flipped state, I try adding a few more shapes to the composition: One more piece of red fabric in the upper corner to keep our eye within the composition, and floating air particles to add small elements and give an even greater sense of motion to the scene.

I flip the canvas back to its original orientation to see if I am satisfied with the changes I have made. The finishing touches: The last things I do to my paintings are routine for almost every single painting I create.

You can then make adjustments to the overall values. I then put my signature on it and call it done! Discover how to capture the mood with interesting lighting effects, as Geoffrey Ernault shares his speed painting techniques. Digital art for games Sabin Boykinov reveals what exactly is was about the digital medium that fueled him to break into the industry!

Tatianna Kolobukhova SneznyBars reveals her painting process for creating characters with dynamic poses. Don't know why I waited before signing up as this magazine offers an incredible insight to the world of 2D art. Subscribe online at www. You will receive 12 issues in a year. Minimum subscription term is 12 months. If at anytime during the first 60 days you are dissatisfied, you can email us support 3dtotal.

The PayPal recurring subscription can be cancelled at anytime. Prices and offers are subject to change. Discover Photoshop techniques to depict a scene lit at midday In this tutorial, I will create a scene that will be used as the base for three other moods with the same content. The first scene depicts a room in the early morning, and will change as the time of day and lighting shift, keeping the same subject.

Working in videogames requires you to work quickly, and mood changes like these happen often. I will show you how I organize my layers to make this process easier and more efficient. I will also teach you the techniques needed to make these changes in a short period of time. Sometimes I use photos as a reference or start from scratch.

In this case, I want to make a quick sketch to set the overall mood and build up the scene with all the elements that will help develop the other moods. I thought an abandoned room would work with what I wanted to achieve, with windows big enough to add natural light and key elements that will help distinguish the other moods.

Color base and perspective: Following the previous sketch, I start preparing the piece by adding the color base and perspective lines that will put all the elements into context. I group the perspective layers, so that I can easily hide them. I work with big brushes with some texture, focusing only on tone and values. I try not to get crazy with shadows and light at this point, as I will apply them later. Some elements may change, but I try to stay as close to the original image as I can.

I switch the image to black and white several times to see if the values are correct. Layer setup: This is one of the most tedious, yet important, steps. The floor, background, window frames, walls and so on, will be cut and pasted in a new layer. I also make sure I name each layer so that they will be easier to identify when I have a large number of them. Now that everything is well organized and separated, it is very easy to render and have full control of every single element on the screen.

Polishing and texturing: I like to paint with long and big brushstrokes, so I use the Lasso tool to make sharp edges and leave the inside loose with random brushstrokes. I never paint on the same layer, instead I use Clipping masks so I can paint only the visible areas of the layer underneath, keeping its transparency and shape. The original layer remains unaltered so. I can come back to its original state whenever I want. I can reshape and edit the base layer, and the changes are reflected with the clipping mask.

In addition, I can have more than one clipping mask on the same layer. The initial sketch to set the first mood, and building the scene with all the elements I want to show. At this stage, I also add some photo textures.

I only use them to add color information and some color noise. Adding the color base and perspective lines. The value range and tones should also be defined here. Adding a narrative: While painting the scene, I feel it lacks a storytelling element. It is very open to interpretation — it could be a kid or the ghost of a kid wandering around the room.

The idea is strong enough to make the viewer look at the image longer and think about the nature of the character and the room he is in.

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From there, I keep adding more elements to polish and define the shapes. I apply shadows on all the different layers, so I can easily modify them when I have to change the mood. Material behavior: At this stage I keep rendering all the elements, paying attention to how the light reacts to the environment.

Light affects material in so many different ways. The plastic ball illuminates some light that will bounce on the floor, coloring its own shadow. The lamp has metallic parts that are very reflective, and so on. The best thing you can do is look for pictures on the internet and analyze how light interacts with different surfaces.

Here, I use a lot of layers in the Overlay and Screen modes to emulate reflections and bouncing light. Adding lights: Although I already added some lights to the scene, I usually add the main lights and shadows with adjustment layers.

For this image, I make a new adjustment layer mask set in Curves mode. The benefits of adding light and shadows this way is that you can go back and tweak the effect whenever you want. For example, if I feel that the light or shadow is not strong enough — I just have to click on the layer and modify the intensity. These layers work as a mask, so the adjustment only affects the areas you want. The more white you add to the mask, the more visible the adjustment will be.

I continue painting more lights with a soft brush set in Overlay and Linear Dodge mode. Last elements: I keep adding more details to further build interest in the room. I paint some papers all over the floor as well as a new lamp on the right side.

I first think to turn on the ceiling lamp for the night scene with artificial light, but feel that this kind of light is boring. Then I think that. I keep adding more elements that will add more flavor to the image, like some books and old photos hanging on the fireplace wall.

Then I paint a face on the paper bag mask — my idea is to paint a different face on every scene. Checking the values and composition: I repeat this step over and over again. I usually work with mid-range values and. Try to be clever and guide the eye to the areas you want by adding more light. I always have a layer set in Desaturation mode on the top, so I can switch it on whenever I want and check if the values are still working well.

Last touches: I try to keep the colors fresh and cold because I want the feeling of an early morning scene. I correct the colors a little bit using Color Balance, but always try to keep the original tones I set in my previous sketch. The image lacked a narrative so I add a character to the scene Adding reflections and shadows, keeping in mind the nature of the material being rendered Using adjustment layer masks to add light and shadow Painting more assets that will enrich the atmosphere of the scene Check your values and flip the canvas horizontally to detect possible mistakes.

Why does this wall have this material and not another? What will the floor look like if the house is abandoned? What kind of elements will tell the viewer that this room is abandoned and once belonged to a kid? Stephen Lorenzo Walkes artbysteviewalkes. Photoshop Stephen is a freelance illustrator based in London, England. His caricatures have been used in editorials, advertising, album covers and books. He is currently the creative director of the independent clothing company, Doopsie Joint.

Stephen Lorenzo Walkes provides a step-by-step guide for drawing and painting a caricature in Photoshop. This tutorial will give you an in-depth look into the process I normally use when drawing and digitally painting a caricature.

The steps shared will not only give you an idea of to how I exaggerate the features of the model while maintaining her likeness, but also show how the gradual building up of values can change a quick rough sketch into a strong, eye-catching digital illustration. Apart from my first initial sketch, all of the work in this tutorial has been done in Photoshop using the Wacom Cintiq 13HD. Rough sketches: Rough sketches are kind of like little rehearsals for the big event, but without the pressure.

The more reference photos there are to work with, the better. For preparation of my caricature of Regina, I did three very brief thumbnails. The first sketch for example was lightly drawn in my sketchbook taking roughly around five minutes to do.

The outcome was clearly not very strong in likeness,. Chosen sketch: From studying five reference photos of Regina, four immediate facial features stood out to me. Her big eye lids, her small round mousy nose, the space between her nose and mouth, and the. I realized that I captured everything except her eyes with my first attempt. But by my third sketch, I felt that I had enough of her standout features to progress with as my final.

At this stage I made a new layer and placed it underneath my sketch as the background layer. I then doubleclicked on my sketch layer to unlock it, and set it to Multiply. Selecting the Hard Round brush and lowering the Opacity to 43, I then started to lightly paint in a fleshy pink-brown color on the layer underneath my sketch.

At this point, while painting the areas that I wanted to build my values around, I made sure not to lift my stylus off the pad, simply because I wanted to keep my saturated mid-tone value the same.

Taking my stylus off and on again would have darkened the value, which is not what I wanted at this stage. Normally this is a hindrance, but sometimes it can actually help lose over-dependence on references and improve on your artistic intuition.

Building tone: Looking at the reference photo, I noticed soft yellows, pinks, greens and browns, so raising the color slider, I searched for similar tones through observation and intuition. In fact my main goal was for the colors not to be identical, just similar.

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