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(Fig.02).
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Chapter 01
Chapter 01
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Chapter 01
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Chapter 01
Chapter 01
Lighting
When we have an image as complex as this
one, it is much easier to pass into color if we
have previously defined the shadows and
volumes in black and white. This is one of
the great advantages of digital technology; it
accelerates our work and makes use of color
easier.
For my picture I chose evening light, because
it produces stronger contrasts and lengthened
shadows in objects, creating beautiful spaces of
look.
Cast shadows
of the drawing.
(Fig.07).
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Chapter 01
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Chapter 01
Color
For illustrators, painting a picture is often the
hardest part of the work, as they are afraid of
ruining the drawing when coloring it. I always
say that the easiest thing is to learn how to color
and the most important thing is to learn how
to draw. Each element in nature has a default
color, which I will name local. Apples are red,
trees are green and brown, and the sky is blue
(Fig.01).
When painting an object, we must take into
account its local color and add to it the base
or environment color. This base color will
interfere with the objects local color, producing
new mixes that will not only change it, but
help to enrich and integrate the object into the
environment. Therefore, even though the apple
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Chapter 02
Chapter 02
ship (Fig.04).
(Fig.05).
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Chapter 02
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Chapter 02
Chapter 02
Digital Painting
For better handling of the color and to create
halftones for our digital painting, use the Color
Picker + Alt. Once we have established the
basis of color, in this case the gray blue metal
that covers the ship, we pick up the same color
with the Eyedropper tool. By using the brush
with the opacity at 70%, we will be able to do the
halftone color base, while we add new colors
and mix them with that basic color (Fig.09).
There are very good programs that emulate a
colors assembly process and its mixture, as if
we were working with pigments.
My recommendation is to work with a good
digital tablet that has high sensitivity in the tip
and, at the same time, set the brush properly.
Brush Management
There are several ways to improve work by
creating your own brushes, intelligently using
their settings and not abusing the resources.
Early on in the painting process, many digital
artists typically use their brush with very little
11).
To Tell a Story
(Fig.12).
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time (Fig.13).
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Chapter 02
Intelligent Detailing
Finally, to display the image better, I recommend
detailing the most important issues. What would
be the most important? What we want to show,
what summarizes the idea or what generates
the greatest impact from afar. From this stage
I began to work zoomed in to 50 or 70 percent,
taking regular intervals to see the whole picture
details (Fig.15).
Email: i.bazanlazcano@gmail.com
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Chapter 02
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The Artist
Richard Tilbury
Web: richardtilburyart.com
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Discover techniques to
integrate photographs into
your images...
If we refer to the original image from
last weeks tutorial, we can see a few key
unusual aspects in the composition. Due to
the inconsistent arrangement of volumes
and shapes in the image, I have relied on
atmospheric perspective and a repeated motif
as the main vehicle for conveying depth.
Also, because the horizon line has been
lowered, the ground plane is heavily
foreshortened. In order to support this, it was
important to add some visual clues in the
scene something that the pool of water did
to some extent.
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the top and begin by altering the Spacing (lefthand image). This helps define your brush shape.
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The Artist
Richard Tilbury
richardtilburyart.com
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The Artist
Richard Tilbury
richardtilburyart.com
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Adjusting the settings: The newlymade brush should appear now in your
brush collection, but it is not over yet. Open your
Brushes window under the Window tab and you
will be offered many options to alter your original
Tree brush. You could spend half an hour playing
with the settings, but I will talk about just two of
them that are used the most frequently: Shape
Dynamic and Other Dynamics. You can use them
to give some random effects to your original
brush. So when you apply your brushstroke,
the original brush shape will change in size,
angle, roundness and perhaps opacity along the
brushstroke path.
In our case, since it is a recognizably shaped
brush, unlike those Charcoal, Pencil or Oil
brushes, which aim to mimic certain specific
traditional media, you dont want to go too crazy
with the settings. I would only apply some Size,
Opacity Jitter, and maybe some very subtle Angle
Jitter to it, because if I want to build a forest with
the brush later, I dont want to have upside-down
trees there.
After you have played with all the settings, please
dont forget to save the brush again and give it
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PRO TIP
A brief introduction to ArtRage
There are four important windows on the interface: Tool Picker, Presets, Settings and
Layers. I try to stick with those basic tools without getting too fancy with the software.
In the left-bottom corner, you can select any of the traditional media that you want
to use. Once the tool is selected, oil brush for instance, its related presets will appear
automatically in the Presets window. They cover a wide range of variations of oil brushes,
such as dry brush, day clumps, dry varnished, normal square, thick gloss, and so on.
What is cool about this software is that you can select one preset as your basic setting, and
further tweak it in the Settings window by adjusting its pressure, thinners, loading, and so
on. After few adjustments, you can really get a brush which is very close to what you have
used traditionally.
The last window Layers is very similar to what we have in Photoshop, but more simplified.
It stays very useful for organizing your painting layers. One of the cool characteristics of
ArtRage is that the colors can be blended very naturally together, and create subtle color
nuances in the mixing.
painting here.
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The Artist
Donglu Yu
donglu-littlefish.blogspot.ca
eBook Review
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