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Thread: First photoshop paintjob.

  1. #1
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    First photoshop paintjob.

    This is my first post here, as well as my first photoshop paintjob. Harsh crits are welcome. I would like to greatly improve,and seeing as I have a little while to do it, well...I'm ambitious.
    I mostly want to be doing soemthing in the gming industry such as concept art. So any advice on programs and tools to use is also very appreciated.

    Heh. Thanks Exo, once I noticed it wouldn't work I looked up the thread that said how but it's down.
    Much appreciation.

    First photoshop paintjob.
    Last edited by Aequitas; January 6th, 2006 at 10:50 PM.
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  3. #2
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    I dont know of very many shadows that are pitch black under normal lighting conditions
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    Great Volume ...well rendered, but elvis is right...your shadow imo would be a dark wrk grey and I think with that lighting you need to define more of the sherical surface with shadow....a little refelected light wouldn't be to bad above that dark shadow.
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    I think with that lighting you need to define more of the sherical surface with shadow
    You mean more contrast witin the orange?
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  7. #6
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    Aequitus I'm whipping up a quick example gimme about ten minutes
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    First photoshop paintjob.
    Something a little more like this...I cheated but it demonstrates the concept, and this is just my opinion, take it with a grain of salt.
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    OK, folks, pay attention. I'm going to show you something that's going to have you slapping your foreheads, saying "of course!"
    A sphere is symmetrical in all directions. Therefore, any sphere, under a single lightsource, will be exactly 1/2 in light, 1/2 in shadow. The phases of the moon are a perfect example of this. The point where the surface curves completely away from the light is called the terminator or shadow edge, and it is perpendicular to the direction of the light source. The stronger or more focused the light source, the sharper the transition from light to shadow, and the harder the edge of the cast shadow. The edge of the cast shadow also softens as it moves away from the form.

    First photoshop paintjob.

    Tristan Elwell
    **Finished Work Thread **Process Thread **Edges Tutorial

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  11. #9
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    ::facepalm::

    Of course!!
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    Updated picture! (The newer one is the second one.
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  13. #11
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    Elwell, you're harder than he-man. And wiser than yoda.

    thanks for that simple, yet extremely effective explanation.
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    What I really don't understand is, if you take a sphere and you determine the local color, how do you determine what the light source color is gonna be that effects the highlights .... and shadows? In tim hildebrandts book on his technique, he says to imagine what the colors are on a white dress/shirt will help you determine what the colors of light will be. But as elwell has stated in another thread, you don't just add white to the local color to make the highlights. I'm really confused how you determine how to lighten the colors on a sphere. I mean, when you have a million objects in a picture, do you think of one particular color that you will use to "lighten" the local color of the objects with? and particular colors your gonna use to mix with objects for the shadows?
    If the sphere is in light of the evening sun, it's easy for me to understand that the highlight is gonna be warmer. And so if the sphere is red, you add a lighter yellow of some sort to the red until you have the appropriate value. But if you have mid-day light or inside lighting is very "white light", I want to just add white to the local color, when painting from my head. How do you determine what colors to use to lighten an object? Could you just not look at it like, use white to lighten it, to get the right value, then try to alter the color of the highlight? (BTW I'm really thinking of this approach in terms of oils)
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  15. #13
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    The thing to remember is that (in physical paint, not pixels) white is a color just like any other, and does more than just lighten. It also nuetralizes and shifts the hue of any color it's added to. Sometimes this will be just what you want, but most of the time you have to add other colors in with the white, or use a completely different lighter color to get the effect you want.
    Tim Hildebrandt's book is really good, and his advice about imagining the appearance of a white object to get the color key of the light source is right, but it takes a lot of practice and experience to actually get your head around shifting all the other colors in a scene proportionally.

    Tristan Elwell
    **Finished Work Thread **Process Thread **Edges Tutorial

    "Work is more fun than fun."
    -John Cale

    "Art is supposed to punch you in the brain, and it's supposed to stay punched."
    -Marc Maron
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