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Nice job. I'd recommend spending a little more time blending, but this would be fine as a sketch. Also, watch the saturation and brightness on the red handle. I'd desaturate it a little and give it some more contrast. Good work, though. Keep on posting!
The Dodge and Burn tools have their uses, but they really don't allow the complexities of colors that are often necessary. Photoshop doesn't "know" about the lighting in a painting, and so the results of using the Dodge and Burn tools often look weird.
I'm currently working on a flower to post here. Don't know what it's called, but it has interesting colors and form. So far all I have is some color swatches...but they're the colors I'm looking for.
Last edited by Datameister; September 16th, 2005 at 12:58 PM.
thx for the advice, i tried a flower but i don't think it turned out as good as i hoped.
Good work. I'm noticing a lot of very noticeable hard brush strokes on the branch--I assume that was intentional? In a finished piece, you would want to blend that some more. But it can be fine for a sketch. Are you working with a tablet? That makes such a difference.
I know a lot of people suggest using Photoshop's default hard brushes for shading and everything. I've tried that, and I must say that I prefer working with soft but subtly textured brushes. The problem with using default soft brushes is that they often give an undesired "airbrushed" effect and make detailed texturing difficult. But using a moderately soft brush with some sort of texture to it can work remarkably well, as long as you use hard brushes for edges.
I've also found a color mixing technique I like a lot. I mix colors by layering them with low stylus pressure, either with Normal or Hard Light for my blending mode. For each major color, I build up a swatch with different areas representing highlight, middle value, and shadow, as well as any other variations necessary. Then I sample directly from the different areas of these swatches while I paint.
Is this any improvement?
Much better. Interesting texture work you've got there, too.
I gave up on my flower. I was spending too much time on the terra cotta pot that contained the flower.
Very nice! It's too dark to be visible enough, but it's looking great. Keep it up and you'll go far!
EDIT: How odd...the post I was referring to has vanished...
Last edited by Datameister; September 18th, 2005 at 06:21 PM.
Here is my contribution, under my new username.
First image - construction lines and developing a sense of form through simulating a wire frame.
Blocking in the basics of the colour.
Second stage -
Blocking out the main colour shapes, alongside shadow areas.
Trying not to concentrate on details or highlights until form and color is there.
third stage -
Finishing touches, last details and high light areas,
Overall its a little dark .. I think thats becuase I was blocking in at 80 % opacity and i ended up with somewhat different colours that i wanted..It was a good learning experience, thanks bumskee for inspiration to start these studies.
I think ill do a pear next.
Everyone's work is SO amazing. I hope this thread will continue till my Wacom gets here!
"I do what I please, and I do it with ease"
-- Martha K. Stewart
hehe - hey simfonie! Don't you know that old threads never die? They just fade away! Sorry, couldn't resist! Don't worry dude, it'll still be here! Fruit is just too killer a subject to ever go away - all the old masters did it!
Hey Bumskee,Originally Posted by bumskee
First post ever, your garlic got me inspired so I tried to colour your drawing.
Hope it's ok. C7C welcome.
Artur, you kinda missed the point. The point is to do stuff from direct observation, not just coloring lines. Then you don't learn anything! Good luck.
The point, yeah perhaps I missed it. Although i was observing Bumskee's picture.Originally Posted by Pixeldragoon
As for not learning anything, definitely not true, I learned a lot by immitating.
In fact I was learning the technique.
Didn't mean to offend anyone.
artur83, it's cool dude, nothing wrong with painting someone else's line drawings, it's heaps better than not painting at all. meh, you did make mine look crap though hehe, lovely colours really painter feel to it. Not too sure about the background though, a little sloppy perhaps but the garlics looking great. Now go and paint something from real life, you learn to observe as well as handling brushes in photoshop.
good to see everyone going at it, except me and tei?? hehe..
Hey! Work takes up a lot of time you know! Besides, I wouldn't be so keen to toss that around when I haven't seen near as many animals from you as I did paintings, buddy! I'm moving closer to work in a couple of weeks though, which will knock my commute down by an hour, so I'll start painting again then.
In the meantime...more animals...more animals...
hey guys I tried digital painting please let me know if i'm doing anything wrong.
wooh i forgot about this thread a while..
Shall try to do a tomato tomorrow, if I can find the time
Luckily i'm cooking tomorrow and i'm making something with tomatos, so I have enough examples (unluckily the examples are going to be eaten after dinner so i'll have to finish before, but i'll manage )
Really really want to get better Photoshop skills
Marleen / NoŽ
Here is another one I did, still can't figure out how to paint water right but i'm getting better at it.
piotrpociecha, ditch the smudge/blur/burn/didge tool for now, try and paint with colours only, once you get those sort of figured out you can then go ahead and explore other methods.. us newbies should stick to the basics..
Revan, observe and practice I guess.. looking good. meh we should do more landscapes, but!! let's try and stick to something simple like an apple..
Hey Min, get your ass into the wip and skethces section and help me out with my ogre.
Soo.. here is my tomato (who is now in the oven getting very hot)
The final pic; added bgcolour and awful shadows
it took me about two hours I think
Marleen / NoŽ
Nice job. I think you may be spending a little too much time looking at the painting, and not enough time looking at the tomato. Just a guess. I had an art teacher long ago who taught me the importance of observation. Many people have a natural tendency to spend too much time looking at their art, and not enought ime looking at their subject.
I know a lot of people on this thread have recommended beginning with hard, flat areas of color, but I actually don't recommend doing this. I would recommend "mixing" your colors first and then using softish but subtly textured brushes to lay down the colors. If you have a tablet--and you should--use pressure sensitivity. Set the brush to change Flow (or Opacity) based on the pressure you exert on the tablet. Then press harder where you want more color added.
If you look at my tomato painting on the previous page, you'll notice I have swatches of color above the rough version. I like to use these to mix colors. I try to create a "preview" of the full dynamic range of each major surface, and then I can sample colors directly from these. Give it a try.
Anyway, good job. Two additional things I'd suggest: try to use a little less orange, and work on putting more contrast on the edges. At the moment, the edges are a little flat. Try to darken them up more.
Just found this thread - this is really useful. Made me want to do still life (rare)!
Datameister, have you got any other tips on using pressure sensitivity ( ) so far I have just turned it off because I make such a mess with it on, where to start?
I assume you're working with a tablet, right, Pootle? I don't want to make any stupid assumptions.
So...pressure sensitivity. How you work with it is a profoundly personal choice, and whatever works for you is fine. Here's how I often work.
I block in basic shapes with hard brushes, usually with all pressure sensitivity turned off. Major objects are done on separate layers. Once I have the composition and basic colors mapped out, I lock the transparencies of the object layers and begin working with somewhat softer brushes. I usually work with 100% Opacity and Airbrushing is turned off. The Flow value is very low--often no more than 5%--but with pressure sensitivity set to affect it. That lets me build up colors pretty slowly, but by pressing harder I can also work more quickly and boldly.
This is by no means a foolproof method. You should work however you work best. From the looks of your sketchbook, I'd say you won't have many probelms getting used to this method. But definitely don't be afraid to use pressure sensitivity, because IMO, it's the most important thing about graphics tablets. Even more important than the increased precision and better ergonomics.
Welcome to conceptart.org! This attempt isn't too bad, but it's pretty flat. You've varied the hues but not the values. You have to take into consideration the way the light hits the apple. The edges will typically be much darker than the center. But don't just arbitrarily brush in darker colors along the edge--really observe the apple and try to capture what you see. Also, the blending needs more work. Photoshop's default brush strokes don't look terribly appealing or even artistic when they are plainly visible in art. I recommend spending much more time blending, and you can try different brushes, too. Good work, though. Keep at it!
Nice. I'd recommend using a somewhat larger brush for the directional strokes--the apple looks a bit too fibrous when you use such a small brush. Also, the shadow placement is totally off. It looks like you used the Drop Shadow effect. I'd also like to see a lot more contrast in the apple itself; there aren't really any shaded areas at the moment. Good work, though.