Leaf Problem
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    Leaf Problem

    I'v run into a bit of a creative block. I need to start adding leaves on the trees but I'm not sure where to start. If anyone has any suggestions or knows of some really good tutorials I'd really appreciate the help.

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    why use leaves at all. it looks great. leaves may even disturb the composition

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    Thank you for the complement. I'd still like to try and get the leaves in and see what it looks like.

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    You can find picture of the leafs of tree and then draw it yourself. Once drawn, create it into a brush, fix its properties and then start drawing. Let me know if you know how to achieve this.

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    By the way, one other issue that I have is her leg. It is positioned weird and the way it leans against horse's shoulder shows that her leg is not attached to her body. This position is very unrealistic for a human to achieve. Try placing her leg in a normal horse riding stance.

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    Quote Originally Posted by DAMJAN View Post
    By the way, one other issue that I have is her leg. It is positioned weird and the way it leans against horse's shoulder shows that her leg is not attached to her body. This position is very unrealistic for a human to achieve. Try placing her leg in a normal horse riding stance.

    It's call side saddle. I have plenty of references for it and I haven't finished working on that leg.

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    When you are painting foliage; decide on the angle of light and mass the main areas of light and dark first, then let the edge of the mass carry the information and then go in and add details of individual leaves sparingly. Design their placement. Get the growth pattern of the tree focus on its whole when you develope them. As things recede in space leave out the detail, it just flattens the picture plane. Here are some examples from my traditional paintings

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    Quote Originally Posted by dpaint View Post
    When you are painting foliage; decide on the angle of light and mass the main areas of light and dark first, then let the edge of the mass carry the information and then go in and add details of individual leaves sparingly. Design their placement. Get the growth pattern of the tree focus on its whole when you develope them. As things recede in space leave out the detail, it just flattens the picture plane. Here are some examples from my traditional paintings
    Thank you Thank you! That is what I was looking for but couldn't find. Hopefully I'm getting it right.

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    If you didn't already find it by yourself: You should use a brush with many dots (those should be in the wet brush set from ps), turn opacity down and get crazy with dotting around. I think you don't need any help on shadows or lights, however it's also nice, having light streams shimmering through the holes in the crown. I always do this by using the same dot brush (just smaller) in it's own layer and afterwards using a movement-effect (smooth rendering) to pull those light dots out in the direction it should float.
    Since I use a german version of Photoshop, I'm not sure if I translated those tools correctly, so I'm sorry for the eventual given mistakes.

    rgds

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    the leaves on the ground look good imo, it doesn't work so good on the trees, because it looks like you just scatter strokes over the branches... keep in mind how the leaves are attached to the branches http://www.zoonar.de/img/www_reposit...83941b7939.jpg

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    lol I know what saddle is. I wasn't talking about it though.

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    Just adding, aside from a brush with many dots as Swamp Thing wrote, you can make your normal brush to scatter by simply increase the spacing and scattering. To break up the uniformity of the color as you stroke, you can use the color dynamics option for a bit with that brush. Right now, imo those leaves on the middle upper of the picture look too flat & monotonous in color & value.

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    Quote Originally Posted by simply sner View Post
    the leaves on the ground look good imo, it doesn't work so good on the trees, because it looks like you just scatter strokes over the branches... keep in mind how the leaves are attached to the branches http://www.zoonar.de/img/www_reposit...83941b7939.jpg
    Thank you! like the ones on the ground I'm layering the leaves on top of each other. The ones in the trees are just where I was blocking some of them where I want to start them. They have a long way to go.

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    Quote Originally Posted by DAMJAN View Post
    lol I know what saddle is. I wasn't talking about it though.
    The side saddle gives you a completely different posture than a regular saddle.

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    you are absolutely right Runya however, there is no where clothing bulge or contour to let us know that second leg is there underneath her skirt. Pay attention to that. http://www.equine-therapist.com/Side...emonosmall.jpg
    http://www.equiworld.net/uk/ezine/1002/trakhener2.jpg
    Don't think that I'm trying to argue with you here, just trying to help you. You should draw the girl sitting on a horse with her legs in that position and then draw her skirt on top of the anatomy to get that effect. Hopefully this will help you out a lot.

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    side saddle or not, either way that leg is not reading very well, i think its the way the dress is creased, it does not appear to be flowing over a leg underneath. try get some more varied folds in the dress, it look rather to uniform, some variation will make it more natural.

    Some of the leaves are just looking like squares of colour above her head, not sure what tree has square leaves?

    Keep going

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    adding more leaves to the ground and getting to work on the leaves in the trees.

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    more leaves added in the trees and ground

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    going back to the main figures and readjusting the lighting and working on the finer details

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    Very good work so far. I would focus on the lighting/shading of the equine. Think of your lighting source of the background, and carry it over to the woman and the horse.

    Good Luck

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    Maybe it's just me...but it's a bad habit to use the burn and smudge tool. Let the brush to the talking. ;P

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    Quote Originally Posted by RyanH View Post
    Maybe it's just me...but it's a bad habit to use the burn and smudge tool. Let the brush to the talking. ;P
    yes, i noticed that too on her history. agreed.

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    The hand.. too small..
    nice style though.

    It's the sketchbook.. I don't get the html stuff
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    Quote Originally Posted by RyanH View Post
    Maybe it's just me...but it's a bad habit to use the burn and smudge tool. Let the brush to the talking. ;P
    It depends on what I'm working on.

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    Quote Originally Posted by johanerik View Post
    The hand.. too small..
    nice style though.
    Thanks, To be honest I haven't even touched the hand yet. It's still as a rough sketch.

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    The burn and dodge tools will hue shift, so if you use them more than once or twice, your underlying colour will have changed. This results in muddied colours.

    Also, it's important to remember that shadows aren't really black--they will be affected by the bounced light that does make it through. Your tree shadows (across the leaves) are better than the shadows on the girl riding the horse because they reflect the warmth of the light--the black where her leg overlaps the horse is really harsh given the light, and the highlights on her horse are awfully cool instead of warm like the light. (Speaking of which...her horse has super strong highlights on the side opposite the light source.)

    RE: Shadow and light - the colour of the shadow will often be determined by the colour of the thing causing the shade and the immediate reflective surfaces next to it. You'll have a lot of deep green and brown fading to neutral tones in these shadows and the light will be rimming everything in gold. The horse feels unnaturally cool since you've used his hue intensity to give shadow and light to his form. What you might want to do is find an olive complement for his shadowed flanks (her skirt is next to them) and a nice white-gold (instead of grey-white) for the highlights and rim lighting. If you need a colour to play off the grey, maybe try a deep slate blue. (You can also get colour jitter on a brush but it's tricky. Probably better to paint in very translucent layers of colour until you get a shade that feels more cohesive with the warm tones of the rest of the pic. (If you are worried, you can make a new layer and turn the transparency on your brush down.)

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    Quote Originally Posted by PixelFish View Post
    The burn and dodge tools will hue shift, so if you use them more than once or twice, your underlying colour will have changed. This results in muddied colours.

    Also, it's important to remember that shadows aren't really black--they will be affected by the bounced light that does make it through. Your tree shadows (across the leaves) are better than the shadows on the girl riding the horse because they reflect the warmth of the light--the black where her leg overlaps the horse is really harsh given the light, and the highlights on her horse are awfully cool instead of warm like the light. (Speaking of which...her horse has super strong highlights on the side opposite the light source.)

    RE: Shadow and light - the colour of the shadow will often be determined by the colour of the thing causing the shade and the immediate reflective surfaces next to it. You'll have a lot of deep green and brown fading to neutral tones in these shadows and the light will be rimming everything in gold. The horse feels unnaturally cool since you've used his hue intensity to give shadow and light to his form. What you might want to do is find an olive complement for his shadowed flanks (her skirt is next to them) and a nice white-gold (instead of grey-white) for the highlights and rim lighting. If you need a colour to play off the grey, maybe try a deep slate blue. (You can also get colour jitter on a brush but it's tricky. Probably better to paint in very translucent layers of colour until you get a shade that feels more cohesive with the warm tones of the rest of the pic. (If you are worried, you can make a new layer and turn the transparency on your brush down.)


    I don't use the dodge tool. The burn tool I'll use in some rare cases to deepen some shadow areas and I use the smudging tool more to clean up my edges. I'm not a great fan of everything having a fuzzy over air brushed look or having some things with sharp edges. I have a lot of layers that allow me to clean up my edges to my liking.

    When I started the piece I started on the girl and the horse. I wasn't sure what to do with my background till I was done with her face. That's when I knew I needed to get the background done so that I could go back and fix the lighting properly on the figures. Which I'm currently working on now.
    The biggest problem I'm having with the horse right now is I want him to look like his outside was made of iron so I'm still playing with the highlights and the shadows to see what is going to be the better approach. But yeah he's suppose to be more cool huge mechanical rather than warm organic.

    While I have the horses shape I'm still playing with his joints and Iron skin for his mechanical look

    I'v turned the horse layer down to show more of where I'm trying to go with him.

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