(Also check out Part 2)
(Also check out Part 2)
I can apply it to other things like TREES, SPIKEY THINGS, FUR, FEATHERS, EXPLOSIONS
THIS CHANGES EVERYTHING
omg that lighter color thing
I never got it
mind = blown
I NEVER KNEW THE LIGHTER COLOR PART
OH MY GODDD
The Lip Tutorial~~~
The final part is on my Livestream the first minute is me trying to remember how to use it.
I also answered some asks:
here are some bits from the psg art tutorial by Arne Niklas Jansson
it’s incredibly useful and very comprehensive so please, check it out!
img 1: sub-surface scattering
Sub-surface scattering - Strong light can penetrate the surface of some materials and bounce around, then exit again. This will increase the saturation and make the surface look illuminated from the inside. In the case with human skin, we sometimes see it on hard edges between light and shadow.
img 2: layer passes
- Feel volume and angle of the form.
- Where is the light coming from?
- Try to figure out if there are any shadows that might be falling on the surface.
- Is there any reflected light (radiosity) that hits the surface?
- What is the ambient color of the scene? (sorta like global reflected light.)
- Any speculars. Is the surface gloss/wet and also angled so it reflects a light source, such as the sky?
- The exposure level. Perhaps it’s so heavily lit that it becomes more than white? Perhaps it’s so dark that even the brightest spot is hidden in darkness.
- Is there any fog in the way?
- The texture of the surface.
Note that this mainly goes for realistic styles. A brushstroke should also look efficient and consistent with the rest of the painting and your color scheme choice. You might also have an idea or style which disallows certain colors or textures and puts priority on other things. However, even in a powerpuff girls illustration there’s simplified elements of realistic rendering. Don’t hide behind “it’s not apart of my style so I’m not gonna learn it”.
img 3: speculars
There’s really just one kind of light. It bounces. You can only see the light (photon) if it enters your eye. Light does two important things when it hits a surface. First, a part of it is absorbed. This is how colors are made. A red apple reflects mostly red wavelengths, the rest are absorbed and turned into heat or something. That’s why black stuff get so hot in the sun. Anyways, the reflected light bounce away differently depending on the surface. If the surface is bumpy it will bounce away sort of randomly, like a tennis ball that hits rocky terrain. If the surface is smooth it will bounce away in a predictable path. A mirror is very smooth so the light comes back undistorted, so we can see our reflection.
Note that all surfaces have speculars, because speculars is just reflected light. It’s just more broken up/diluted on dull surfaces.
img 4: radiosity
Here on earth we have lots of stuff around us that the light can bounce off, so things here are more or less lit from all angles. For example we have the sky which is like a dome shaped blue light source. Then theres the ground, walls and other surfaces. In space there’s basically just one light source, the sun. This is why the moon just has a lit and shadowed side, and looks kind of flat. If you looks carefully however, you can see earthlight on the shadow side of the moon, but it’s very weak. Then there’s starlight, which I guess is even weaker.
When light hits a surface and bounces, it also change color. If it hits another surface of the same color it bounced off, it will make that surface look even more saturated.
/SHAKES ON THE FLOOR IM HAVING
AN ART ATTACK
OMFG I… I will try this out asap wow
What a good idea
I used to do this. Why did I stop??
Hey ya’ll, if you’re struggling with towns or scenes, this is great
The first part of the cloud tutorial is finally here :D You can view the full version on my dA. Part 2 will be posted after I get back from SacAnime.
Here’s thefree download link to the Photoshop brushes.
I hope this will be helpful to you guys! Have fun painting!
-Gif of the tutorial work progress (best viewd in Firefox)
Can’t remember where I found this, but from the watermark I can only assume the source is ImagineFX magazine, the September 2008 issue.
If this gets enough notes I’ll caption each photo with the text displayed in each page! (‘Tis a bit small. Curse you, tumblr, get some better zoom! <shakes fist>)
It’s not often any more that I come across tutorials on stuff I’ve never learned before but this honestly an idea/technique that’s new to me.
Wow, this is really helpful!
If anyone is looking for more. These are from Paul Richards of babelab
Reblogging because I know too many people who don’t know what a cat looks like xD
For those who asked, here are better examples of some of the brushes from my new Ultimate Drawing Set for Photoshop. I know the video doesn’t show much, so these images should help a lot!
Please share this with your art friends and happy drawing, everybody!
Little nugget of advice that really changed the way I approached painting. When I started blending like this it was a real turning point for my art quality.
Forgot to add that lighting conditions and other variables in a piece make the hardness you want to choose somewhat variable. Drawing things like skin is more of a hardness range than it is a hard rule.
Eheh…get it? Hard rule? (aaaaaaaaaand i’m done).
Haa thanks, I can’t even put into words how unappealing the overuse of a soft brush is when rendering. There have even been otherwise expertly painted images that were (in my opinion) ruined by that overly soft ‘airbrush’-y look that soft edged brushes give off.
I mean, I just really hate soft edged brush in most cases. It’s definitely the fact that you can’t read any real confidence in the brush strokes of a soft edged brush. It makes it really difficult to nail down any solid shapes or forms in your painting. Weak vagueness both in brush strokes and with shape and form is generally not a good thing when painting.
If I can tell a soft edge brush was used (a lot) in an image, I probably won’t like how it’s been applied.