The Making Of "Bathtime"
Join the #1 Art Workshop - LevelUpJoin Premium Art Workshop

Results 1 to 4 of 4
  1. #1
    Join Date
    Feb 2004
    Location
    Kenmore, WA
    Posts
    275
    Thanks
    3
    Thanked 16 Times in 13 Posts
    Follows
    0
    Following
    0

    Icon The Making Of "Bathtime"

    Name:  Icon.jpg
Views: 1629
Size:  14.1 KB
    Hello, this is my first tutorial. I am indebted to the people of concept art, 3d Total and SO many other community's, hopefully I can pay forward. A very wise person from Nazareth said "freely you have received so freely give".

    Additionally, I am looking for work. Post 2 starts the guide.

    Last edited by Raptor; August 19th, 2011 at 12:14 PM.
    Visit my Portfolio

    My Book Illustrations : A Children's book in progress that follows a young Raptor. Take a look, let me know what you think.

    Inkblot Robots daily rampage!

    ~la bonne nuit ma colombe, Oui?
    Reply With Quote Reply With Quote  

  2. #2
    Join Date
    Feb 2004
    Location
    Kenmore, WA
    Posts
    275
    Thanks
    3
    Thanked 16 Times in 13 Posts
    Follows
    0
    Following
    0

    Forward

    I used Painter, Sketchbook pro, and Photoshop on this project. Artrage gimp and other programs are also fine solutions. Many program features overlap so I will explain more concepts than button devilry. I am also writing with the novice in mind, so if some things seems simple, bear with me. Another wise man said "There is nothing new under the sun." Indeed, most things I show here giants before me have tread. Hopefully everyone might be able pick up on a nugget... or two.


    Scope and initial sketches

    4 7'x10' posters sequential, (We will be focusing on only one of the posters)

    This project was/would be used as a proposal, Ad, catalog design, and then launching board for a full campaign. The scope potential was huge and so we needed to nail down from the get go storyline, characters and all sorts of extraneous background information. I worked closely with the Art director in the scope and sketch stage to follow storyline and keep consistency. The concept was to grab attention through a fun story. Like Nike or Reebok has done in the past, this would be an abstract piece to convey the dominance that our clients product produces in the world of bowling. A hero would work as an avatar to the company, sleek and powered with energy with storm-like abilities like lightning, and bowling like abilities such as the talent for knocking things over.

    I used sketchbook pro for the initial work because I like its simple interface. Sometimes I get bogged down by photoshops enormity. In any project you need to keep work flow moving. Hiccups in your work flow not only wastes time, but even worse can cause artistic discouragement.

    The art director already had a concept for the basic build, height, and a head sketched out for the beast so I experimented with the details on the body. Working off his outline I would add details. We would go back and fourth discussing and sketching throughout the process to make sure we were on the same page.
    Name:  T000-charactor-sketches.jpg
Views: 1596
Size:  104.8 KB


    I was given a lot of freedom with the hero. The Hero had to be human, seem like a good-guy, have a sleek armor suit, and not look too abstract in styling. The hero would represent the brand of our client, Storm. Whether officially or metaphorically he had to be consistent with Storm's brand. I could not have a barbarian style hero if the client is maintaining a name of producing industry leading technology for example, it would be improper representation. For the faces and body of the sketch I turned on "symmetry" and would highly advise it as it nearly doubles your speed. If your art package has a mirror setting do use it. Sketchbook pro and zbrush have symmetry. Face 2 seemed the best fit to everyone on the team, however in small print or from a distance the mask looked a little too skull-like with the vertical slits becoming teeth.
    Name:  T000.jpg
Views: 1598
Size:  200.6 KB

    Fist I had to get layout and scale of the two combatants. After debate and revision over poses we settled on c2. If you look I tried to make a nautilus spiral from the antagonist's face, to the wound, to the hero, grasping background hand fiery vents and finally the foreground arm and hand.
    Name:  T0.jpg
Views: 1444
Size:  160.4 KB

    Once the concept is approved and saved I go into adding detail to the sketch.
    Name:  T01.jpg
Views: 1444
Size:  212.6 KB


    Collage coloring shortcut
    This image is part of a series so to save on time I took bits and pieces from the other paintings and free transformed them into the correct places. this served as my under painting.

    Photoshop has a much better free transform tool that painter IMO. Also with large brushes (1600px+) I have found that photoshop handles its soft airbrushes better not being choppy on the CPU.
    Name:  T02.jpg
Views: 1432
Size:  68.3 KB

    Adding a few highlights and manually painting to get spots looking right that were not covered by the oddly shaped cut/paste objects
    Name:  T03.jpg
Views: 1419
Size:  81.3 KB
    as you can see the sketch works well as an overlay. coloring so far has been 15 min.
    Name:  T04.jpg
Views: 1395
Size:  146.5 KB
    my first goal now is to completely hide all evidence of an under sketch. A small art history brush (photoshop) or a smudging brush (recommend painter) will do this nicely. If I do not get this out of the way I will miss little bits all over in the final product
    Name:  T05.jpg
Views: 1394
Size:  91.3 KB


    Painting (digitally)
    With the Alt color picker I select a blue, orange, and near-black navy from the scene to add detail. I also add one color, the light yellow. This yellow was to better match the other paintings.

    For water, a rake-like brush with some smeary quality is good to add choppiness, do moon crescent shaped strokes. Let a low number of fat "bristles" make up the detail, more than four or five bristles and it will make things look too furry.
    Name:  T06.jpg
Views: 1385
Size:  117.0 KB

    Remember to pay extra detail to the face, our eyes are trained to notice more information in faces than anything else.
    I used a strong smear tool to get some motion in the displacement in the water, the sponge smudge tool is great for a watery effect.
    Name:  T07.jpg
Views: 1395
Size:  117.3 KB

    Some airbrushing over the water lets the light look like it is penetrating into the water a foot or so. Water is a strange thing to tackle, look at photo reference and notice how different it can look between environments. If you have only one approach to water chances are you only draw water in one state. The Caribbean coast, open ocean, a bog, mud, all look different according to light wind, pollutants and even scale, a glass of water behaves different than an ocean. Water with oil from boats floating at the top will look like smooth reagions, a large low flow airbrush over your detailed work can also have the appearance of mist or fine spray. if you have an intense light source consider what sorts of caustic reflections you might have.
    Name:  T08.jpg
Views: 1378
Size:  121.6 KB

    There is a lot to look at so I muted the detail on his hands and arm by airbrushing over it with darks, I will have water running off it so I pull down on some parts to get that refractive distortion going as an under layer.
    Name:  T09.jpg
Views: 1378
Size:  109.1 KB

    I fix some loose arias around the face and adding some more details to keep the lighting consistent. I am zoomed-in most of the time so entire regions go neglected for several steps.

    Some parts seem flat so an airbrush is used to give depth to things like the beasts shoulders, a quick tap with a light or dark value can really push or pull on object on the z axis. now they are more "round" and so can catch more of that glowing teal-blue sabre. Doing this paints over detail so remember to go back over with your alt color picker and put that painterly feel back into the image. Avoid shading with white and black, it will kill the lighting you have been working so hard to achieve. Mood is established by the prevailing color of a piece, you should always be working to harmonize your pallet. Nearly nothing we see is actually gray scale, even when you color calibrate a monitor you have to set a temperature for "white".

    Tip: colors you want as Major players (diffusion color, light sources) you should paint swatches on a layer of your painting in little circles and then lock that layer. That way you can alt-color pick on them later. Sure you could use a pallets toolbar, but I have a tablet PC and limited real estate for excess tool windows. I prefer to work full screen.
    Name:  T10.jpg
Views: 1372
Size:  104.7 KB

    Textureizing with photography and paint
    Now back to photoshop. For the froth I took a photo from behind a running motor boat and started duplicateing, placing, and layering it. Slight motion blurs and zoom blurs will be applied later with its flattened background to integrate the two.
    Name:  T11.jpg
Views: 1366
Size:  127.0 KB
    Useing photo textures can be dangerous. You run the risk of getting lazy and letting the texture do most of the work you should be doing in fine detail painting. But this is going to be seven feet by ten feet so I want people to be able to walk up to it and still get something out of the picture. For the Monster I used some skin from a squid set to soft light and a rusty sheet of metal from an industrial plant on the armor. Remember; Paint with as much detail as you can stand, then paint some more, THEN overlay textures, and then go over it again with the Alt picker and mimic the texture painting in over the top still more details. Let the photo textures inspire you. Do not stop with them, use them on mask layers so you can move them around and reuse various parts.
    Name:  T12.jpg
Views: 1370
Size:  153.4 KB
    clouds were taken from stock photos and color adjusted and then mimicked with a brush. With so much going on in the foreground, the background does not need much information.
    The hero had to play so much catchup I have a separate Chapter for him...


    The Hero
    Name:  H1.jpg
Views: 1399
Size:  76.5 KB
    Ok, so try as I may this was a bit of an abortion. Sometimes you have to just start from scratch. I have copied a flattened version of the painting so save time is no longer 8 min. With pictures this large (12600x7326!) slow saving times and choppy computers can really bind you up -and a frustrated artist is not much use at all. We will mask his silhouette and integrate him back in the full picture at the end.
    so useing the initial sketch faded to 10% as a starting block I reworked the anatomy.
    Name:  H2.jpg
Views: 1356
Size:  58.7 KB
    cell shaded highlights get a rough idea across
    Name:  H3.jpg
Views: 1351
Size:  55.8 KB

    Usefullness of Photoshop Liquify
    Now here is where you learn something new. I liked the color and brush strokes of the previous try, just not the foundation of it as a drawing. SO, selecting parts, head torso, arm etc. I liquefied the old painting to fit the sketch I had on an overlay like a guide. This must be done very carefully because too much moving the pixels around stretches the pixels and ruins the brush strokes, however this saved me a lot of time and is a good strategy to have in your back pocket. Be sure to save you liquefy mesh's. Photoshop has this ability in the liquify window. You are doing major changes to your work and until it is applied you are sculpting half blind, you may want to go back and smooth over some arias ect and if you do not save you will have to start that region from scratch.
    Name:  H4.jpg
Views: 1334
Size:  98.5 KB

    Smudging and blurring I played with it. I wrestled with this Hero allot more then the beast.
    Name:  H5.jpg
Views: 1359
Size:  101.4 KB

    Now we mask off the character.
    Liquefy's over-stretching I use to my benefit because this pixel stretching to the extreme happens to start looking like chrome. This is possibly the easiest way to make a chrome like effect on complex shapes I have come across. To get an idea of what this looks like look at the raised forearm and also his shoulder armor.

    Again I loaded a different finished picture of our Hero (from one of the other paintings) and used it as a template to liquefy the previous face to. That got me 75% their. remember to always go back over and paint over things like filters and textures to retain that hand painted like feel.
    Name:  H6.jpg
Views: 1334
Size:  41.2 KB

    An light airbrush is good to brighten up reagions close to light sources.
    Name:  H7.jpg
Views: 1351
Size:  42.5 KB


    Comics, Chrome, and Smoke

    In newer comics people color with flat fills and then make a shape with a marquee and then either do gradient fills or airbrush the corner of the marquee. This is alright, but works even better doing the same thing over a fully painted texture, and it lends well to a reflective natured texture with gloss. I did this with four colors, yellow (left) for the sunrise, blue (from above) for the ambient night sky, green (lower left source) for the lightning and saber, and orange for the fire. each color on a layer, and each layer set to screen or soft light.
    Name:  scotts-lighting-tut.jpg
Views: 1320
Size:  21.9 KB
    The helmate and the knee pads are the best place to see what I am talking about

    Tip: When you make a selection with the marquee tool, be sure you are zoomed in 100% or you will have jaggies in your selection from photoshop guessing what pixel you are meaning to be over. Low res images do not have this problem.
    Name:  H8.jpg
Views: 1347
Size:  44.6 KB

    the plasma smoke and lightning is done by drawing a squiggle, doing a warp filter, fading it 50% and repeating the filter/fade combination like 10 times, changing the warp's seed every couple filter cycles to add randomness. This is a way to make excellent cigar smoke or an ink in water effect.
    Name:  H9.jpg
Views: 1333
Size:  51.3 KB

    Epilogue
    A fire texture is actually used for the clouds in the upper left hand corner, goes to show you do not have to use things as they are. Do a grey scale and see what a no-color texture reminds you of.
    The lightning arcs were done with blending layer modes carefully tweaked. I started off with a hard edge pencil drawing the arcs with 97% white and applied an outer glow effect. When using gradients for glows I nearly never use a straight color gradient. It will look fake if not tweaked, observe how light shifts. I might start with a white, then move to a light green, and then finally blue for my teal lightning, do not forget to adjust the roll off. If I was doing yellow I might have it go from green-yellow to yellow to orange-yellow on the faintest end of the opacity. If you have the time doing it by hand is better but I was on a strict deadline so these cheap solutions can really save you time allowing you to put more detail where it counts, like in the face or water or something.

    Notice how I did the lightning at 97% that is because I wanted the lightning to have volume too, so I gave the last 3% to an inner glow gradient. One instructor I had told me to only use pure white and pure black on .1% of my piece. they are powerful when used in extreme moderation you eye darts right to that pure white spot and you will not be able to tell why. When you are illustrating with a a dynamic range of shades and color remember that RGB has a larger range than printed CMYK so if your not careful all those little nuances will be truncated.
    Name:  T13.jpg
Views: 1309
Size:  179.6 KB

    The Hero had to be redone to look more like his other shots in parallel projects. I was not happy, but I think in the end it looked better admittedly. In a good project you will have markedly improved just in the time you are working on it and have to go back and rework all over.

    There was a good 8 stages in this product from start to finish flipping between photoshop and painter. Color tweaking, layer blending, and filter pokery are mostly done in Photoshop, everything involving strokes I use painter because of how it pulls and bleeds color and adds directional texture with the brush. Yes you can do a lot with photoshop brushes but I learn more about how an artist approaches their projects if they paint in Painter (or similar app) because the strokes have WAY more information in them (even tho its all digital).
    Name:  T14.jpg
Views: 1308
Size:  179.5 KB

    Attached to the bottom of this post is an initial under-paint that was axed.

    I hope you were able to glean some tidbits from this. If you have crits on the art, concepts, or the tutorial let me know. I probably will not return to this painting but I can still use information on future projects. Love to learn! God bless.

    Attached Images Attached Images  
    Last edited by Raptor; August 19th, 2011 at 01:00 PM.
    Visit my Portfolio

    My Book Illustrations : A Children's book in progress that follows a young Raptor. Take a look, let me know what you think.

    Inkblot Robots daily rampage!

    ~la bonne nuit ma colombe, Oui?
    Reply With Quote Reply With Quote  

  3. The Following 4 Users Say Thank You to Raptor For This Useful Post:


  4. #3
    Join Date
    Apr 2011
    Location
    San Francisco
    Posts
    786
    Thanks
    167
    Thanked 214 Times in 169 Posts
    Follows
    0
    Following
    0
    DAMN... this tutorial looks so good, and very well explained... THANKS!!

    -We are what we repeatedly do. Excellence then, is not an act, but a habit.

    -Some are born great, some achieve greatness, and some have greatness thrust upon 'em.

    My SKETCHbook
    http://jeeso.deviantart.com/
    Reply With Quote Reply With Quote  

  5. #4
    Join Date
    Feb 2004
    Location
    Kenmore, WA
    Posts
    275
    Thanks
    3
    Thanked 16 Times in 13 Posts
    Follows
    0
    Following
    0
    I am you appreciate it rem. Hopefully it can help some people. Feel free to ask questions

    Visit my Portfolio

    My Book Illustrations : A Children's book in progress that follows a young Raptor. Take a look, let me know what you think.

    Inkblot Robots daily rampage!

    ~la bonne nuit ma colombe, Oui?
    Reply With Quote Reply With Quote  

Members who have read this thread: 1

Tags for this Thread

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •