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Thread: Digital Painting Process: "Uninvited" Working From Thumbnails to Finished Sketch P.S.

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    Digital Painting Process: "Uninvited" Working From Thumbnails to Finished Sketch P.S.

    I usually work out what I want to do with a piece to a higher degree than this. But I thought that this time it would be nice to take a plunge into a kind of ala prima painting. This pencil rough is really a thumbnail about 2 by 3 inches.
    Last edited by Sepulverture; November 24th, 2009 at 09:43 AM.


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    I have scanned in the rough and brought it into painter 7. I kept the file small, 6.75 by 10.25 at 150 dpi. This makes my machines run a lot faster and I don?t want to be thinking about detail right now.

    I tried the water color brushes but just don?t have the hang of them. So decided to switch to 1mpasto brushes to see what would happen there. Ok I got impatient and then filled the layer with the yellow ochre you see. I always have trouble pulling color from the air as it might seem. That is why my paintings are more monochromatic than most.

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    Now that I have color over the whole thing I feel more comfortable (less anxious) about adding color or getting everything to have color and relate. I am still using the impasto brushes at this point. Making broad shapes and gestures to find the feel of the piece. This I believe is where you will be getting the energy in a painting.

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    This is where I took the file back over to photoshop and added a multiply layer to bring my values down. And saturate my colors more. I am sure this can be done in painter I just know what I am doing in photo shop so it is faster for me. I just copied my one layer, the background layer and then changed its mode to multiply.

    One of the reasons I wanted to bring everything down a couple of value notches is that I find it easier to paint from out of the darkness as it were. Pulling things out, letting shapes and subtle value changes influence me.

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    Ok still in photoshop I made another copy of my background layer (note I merged the two before) I ran the cut out filter on the top layer and played around with the mode of it to see what I wanted. I think this one was left on the hard light mode then merged.

    I like the cut out filter as it can make some cool geometric shapes out of what otherwise is a busy mess. I m sure that I reduced the opacity of the hard light layer before I got it to where I wanted it. Also I will erase out of the top layer where things may be to obliterated or I just don?t like the effect. Of course all this is done before merging. But then again there is always the history brush!

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    In PhotoShop i am adding color. I like to have my brush set on stylus in the opacity window and usually leave the size variance off. Well this depends on what i am doing with the brush.

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    Just starting to sculpt things and bring in more color. I think I am back in painter at this time. I have also dropped the impasto brushes for now, but will still experiment with the Sargent brush.

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    More color and sculpting. I have probably used levels in PhotoShop several time by now as well as played with the color adjustments. I am still able to make some larger changes at this point, not that I have but it would be a good time. A lot of the color being added now is in painter using the oil pastel brush or sharp chalk brush.

    It is important to say that I am lost, but having fun finding my way through this. You can not always paint a piece this way. Some times it is imperative to have a map or destination. This may be because of deadlines or just a simple matter of your mental state.

    So I am still scribbling, trying to capture motion along with interesting shapes. Put something in, take it out, put it back leave it, add something to it, on and on.

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    Made it darker in PhotoShop. I think I just made a copy of the layer and played with the opacity on hard light mode. This is helping me find what values and key I want for the painting. It also will punch up colors. This can be nice in areas but it tends to over saturate everything. I nice trick to pull a painting together is to (in PhotoShop) copy the merged layers go into image adjust hue saturation, click the colorize button and then move the sliders to where you want your unifying color scheme. Keep the saturation low as this is going to help tame some of the over saturated colors in your painting. Hit ok now move the opacity slider down to where the layer just tempers you piece to the desired effect.

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  18. #10
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    more of the same

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    used the "unsharp mask" filter in photoshop.

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    little things here and there. starting to think more about the figure.

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    I am tying to get some perspective in the piece. Used PhotoShop and the line tool to grid this out and make my ellipse in perspective. Also at this point I?m starting to make masks in PhotoShop for the various ellipses on the machine. I like to use the transform selection tool in the selection menu to help make true perspective ellipses etc. Well it is close if not true.

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