Elements Digital Painting Tutorial Series v2.pdf

DIGITAL PAINTING TUTORIAL SERIES : VOLUME TWO

CONTENTS

ROCK AND STONE

Rich Tilbury

CHAPTER 01

003

ROCK AND STONE

Vinegar

CHAPTER 02

009

SKY

Linda Tso

CHAPTER 03

017

SKY

AquaSixio

CHAPTER 04

023

SKY

Rich Tilbury

CHAPTER 05

034

SKIN

Rich Tilbury

CHAPTER 06

040

SKIN

Emrah Elmasli

CHAPTER 07

045

TREES

Chris Thunig

CHAPTER 08

052

TREES

Rich Tilbury

CHAPTER 09

058

WATER

Rich Tilbury

CHAPTER 10

063

WATERFALL

Don Seegmiller

CHAPTER 11

071

ROCK & STONE

Chapter 1 : By Richard Tilbury

elements Rock and Stone

Painting

Rock and Stone

Step 1:

The irst stage which forms the starting point

for most of my digital work is a sketch done on

paper. This is where I assemble any unformed

ideas and decide on how the composition

will be structured and try and give myself a

template to begin working from. In Fig01 you

can see a pencil sketch that I scanned in which

would form the basis of my inal painting. For

this tutorial I wanted to combine a natural

looking rock face that incorporated some

element of architecture that had been carved

into the stone.

light source I simply erased parts of this layer

involved with details. In order to keep control

Step 2:

The next stage was to get rid of the glaring

to reveal the white underneath (Fig02). It is

of the painting process I ind it is best to work

important to deine the light source as this is

on a larger scale to begin with and gradually

paramount in how the viewer reads the image

work your way down to the iner detail. In other

white of the image and so I traced around

and interprets the forms. Rock can be a dificult

words, decide on a light source and block in

the drawing and on a separate layer which

subject to paint as it varies tremendously, not

the main highlights and shadows and carve

I named “Background”, I used the Gradient

only in its colouration but more importantly

out the general structure and form of your

tool fading from a pale to a darker green. On

in its structure and the types of formations it

image before concentrating on the numerous

another new layer set to Hard Light I used a

adopts. Because its surface is so uneven with

incidental passages that will help add interest

dark grey and illed in the area that makes

so many undulations and crevices it is easy

and detail to the inal 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

elements Rock and Stone

Step 3:

In Fig03 you will notice that I have added a

new layer which I called “Main” and begun

to rough in some of the areas that fall into

shadow and started to shape some of the

crevices. I used warm tones ranging between

those seen on the left using a standard soft

round airbrush with a varied diameter. I set the

opacity to between 65 and 100% and the low

to around 50% using pen pressure to control

it as shown below the brush presets. It does

not matter too much how rough your marks are

at this stage as the painting will go through a

process of reinement until it is inished. Quick

and seemingly random marks are perfectly

suitable and may even inadvertently suggest

part of the inal outcome so be bold and

carefree!

Step 4:

At the moment the light areas on the rock face

appear far too light. I want to create quite a

smooth and relective surface but white should

only be reserved for the extreme highlights

and not used across the entire picture. In order

to tone it down I’ve added a new layer set to

multiply at 71% which I called “Overlay”, and

with a very pale brown illed in some warm

tones to soften the contrast and reduce the

white to certain areas (Fig04).

www.2dartistmag.com

page

v2 Elements : Rock and Stone

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: