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Thread: Can someone explain this to me plz?

  1. #1
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    Can someone explain this to me plz?

    ok, i posted this in my sketchbook but it doesn't look like im gunna get an answer, so im posting it here.

    Now the problem, how do you make smooth tonal transitions with a hard brush? Im always being told to stay away from soft brushes and just use blending and hard brushes but all i ever end up with a splotchy mess. Can anyone tell me how they would render this ball?

    I spent a good 45 mins trying to get this to work, but nothing...
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    First of all, you need to simplify and block in your initial values more accurately. Your reflected light is much too intense and extends onto the shadow far too much.
    Here's what I see, from darkest to lightest:
    1: form shadow, edge plane in reflected light
    2: Main reflected light, halftone
    3: Brightest reflected light, main light
    4: Center light
    Get those blocked in as accurately as you can in both value and shape at full opacity, then start working on the transitions by lowering the opacity (or setting it to pressure) and using the standard resample and stroke technique.

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  5. #3
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    im trying to do what you said, and its fine at first but the more i blend the messier it gets.. Also i have this problem when i use low opacity, if you draw over a line you have already put down it goes twice as dark, i think that's where the splotches come from.
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    I would zoom in at 200% and use a 10% opacity brush to blend or use the blur tool hehe
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    Quote Originally Posted by element1988 View Post
    if you draw over a line you have already put down it goes twice as dark, i think that's where the splotches come from.
    only if the color "on your brush" is a darker value than you already laid down.
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    Quote Originally Posted by sone_one View Post
    only if the color "on your brush" is a darker value than you already laid down.
    so working dark to light would solve this?
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    hrm if you need to go lighter, pick a lighter value. darker > darker value. the reason to turn down opacity is just to be able to make smoother transitions. but no way you can get something lighter by having a darker value on your brush, no matter how low your opacity is.
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  12. #8
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    Maybe it's just me, and it doesn't matter for an excercise like this anyway (where you're just working on matching values and edges), but if I'm not mistaken that is a CG rendered scene? It doesn't seem very accurate to me as far as how light behaves.

    You'd be a lot better off getting a sphere of some sort and lighting it yourself to see what is really happening with the light and shadow. Just try it out and you'll instantly see the difference.
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    Quote Originally Posted by JeffX99 View Post
    Maybe it's just me, and it doesn't matter for an excercise like this anyway (where you're just working on matching values and edges), but if I'm not mistaken that is a CG rendered scene? It doesn't seem very accurate to me as far as how light behaves.

    You'd be a lot better off getting a sphere of some sort and lighting it yourself to see what is really happening with the light and shadow. Just try it out and you'll instantly see the difference.
    im not sure, i was looking for a ref for ages, that was the best one i could find. Most of them didnt have shadows.
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    Quote Originally Posted by Foxtrot Wolfwhistle View Post
    http://www.guidetooilpainting.com/shadows.html Here you go, there are a few photographs of white balls there. The shadows are more subtle, but you could also experiment with colour reflection.
    nice! thx man, oo00 they got cones too XD yay!
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  18. #12
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    Use a mask or the selection tool and a bigger brush. I did this one in a few minutes. yes it has flaws because I was in a hurry but its closer to what you want. So basically I select the sphere and then paint it black and then make a brush that gives me the size and shape of the terminator edge between light and shadow that way I don't have to try and paint it by hand. All the shapes are done that way
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    also, paintings arent meant to be viewed close up, i would warrant if you put that image up on your screen and stand back about 10 to 15 feet it would look far better than you realize. the eye optically blends many tonal transitions. one thing that really helps me a lot when i work digitally is to always have the navigator window up in photoshop with a small version of my painting as i work, i constantly check to make sure it looks good small and shrunk down, in general, if it looks good and reads clear really small, your tones are probably working fairly well.
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