How To Create A Fantasy Character Concept Using Photoshop Painting Techniques – If youare completely new to Photoshop, you might want to check out these tutorials, they are a great starting point for beginners: The Photoshop Tutorial.
There are many things to consider when painting: layers, exposure/lighting, shadows, highlights, surfaces, materials, textures, transparencies, reflections, composition and color temperature.
How To Create A Fantasy Character Concept Using Photoshop Painting Techniques
There are a few things to think about before you have a stroke. You don’t have to think about it, it should happen automatically.
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Note that this especially applies to realistic styles. The brush should also look effective and match the rest of the painting and your color scheme choices. You may also have an idea or style that does not allow certain colors or textures and prefers other things. Even in the Powerpuff Girls illustration, however, there are simplified elements of realistic rendering. Don’t hide behind “it’s not part of my style so I won’t teach it”.
There is really only one kind of light. It turns. You can only see light (a photon) when it hits your eye. Light does two important things when it hits a surface. First, some of it is recorded. This is how colors are made. A red apple mainly reflects red wavelengths, the rest is absorbed and converted into heat or otherwise. This is why black things get so hot in the sun. In all cases, the reflected light is distributed differently depending on the surface. If the surface is bumpy, it will bounce randomly like a tennis ball hitting a rocky surface. If the surface is smooth, it will bounce in a predictable path. The mirror is very smooth so that the light returns without distortion so that we can see our reflection.
Note that all surfaces have reflections, because reflections are simply reflected light. It’s just more runny/diluted on dull surfaces.
Depending on where the eye/viewer is, it will see different light and different highlights on a curved surface like this. The pool is not curved (except at the edges due to surface tension), so you only get a brilliant reflection from certain angles. Point specular can only appear in environments where there is a point light source, such as the sun, a lamp or a small window.
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Photography – reflections really exist on the canvas, diluted and refined. I pulled the shirt sleeve down with two fingers to get a flat surface between the two marked points (I moved the camera, not the sleeve).
Here on earth, there are many things around us that light can bounce off of, so everything here is illuminated from more or less all angles. For example, we have a sky that looks like a dome-shaped blue light source. Then there is the ground, walls and other surfaces. There is actually only one light source in space, the sun. This is why the moon only has a light and shadow side and looks quite flat. If you look closely, you can see the light from the Earth on the shadow side of the Moon, but it is very weak. And then there is starlight, which in my opinion is even weaker.
As the light hits the surface and rotates, it also changes color. If it hits another surface of the same color it jumped from, it will make the surface even more saturated.
Sunlight is much stronger than blue light, which in turn is much stronger than indoor light. Our eyes adjust automatically after a while and we can also adjust by closing our eyes or simply focusing on an object. Because we do it without thinking about it, it is hard to understand that our eyes are actually limited. This limitation is even more pronounced with cameras. When you shoot inside, the windows are exaggerated (bright). You can try to adjust the exposure level to the window light, but then the indoor environment will be a low exposure. This can be used to your advantage. For example, by placing a figure or object in the foreground where it is dark, you can read the silhouette well in a well-lit room.
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Exposure to light can also cause parts of the body to appear too light or too dark, with no skin tone at all. If the shadow is dark and the highlight is overexposed, the only place for color to escape is in between.
The shadows are quite flat and generally less saturated than the highlights. It is easier to see the ambient light in the shadows. Shadows become blurred from a distance, this is called diffraction.
Think about the environment. The outside light is stronger and the skin tones are less saturated due to the blue ambient light and blue glasses. Sometimes the color of the skin gets a purple color by mixing azure blue. This is especially true when the subject is in the shadows.
Inside the house (no windows, only lamps) the light is warmer and makes it possible to increase the saturation of the skin to orange and red.
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Sometimes the color of the skin tone can be pushed to green, especially if there are green components in the room, such as wallpaper, plants, furniture.
In a white room or bathroom, the skin tones will be quite light, closer to the local colors and less contrast (shadow/light) due to a lot of atmosphere.
…so the type of environment your character is placed in has a huge impact on how you bring him out.
The human body has many different colors. The parts covered with dust are less susceptible to browning. Mons pubis, iliac crest and chest quite pale. The shoulders and lower arms get a little extra tan. The lower part of the arm is often pale. Knees and elbows have slightly darker skin. The face also has many colors such as pink cheeks, males can have gray or almost green jaws due to bile. The best way to learn about the colors of the human body is to study them. Don’t forget that animals, monsters and objects also have colors. If you paint everything in the same shade and saturation, it will be boring.
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Certain shadows are caused by ambient and reflected light. Shoulders and upward facing surfaces may have a blue tint due to reflections from the sky.
Saturated gradients – gradients between shadow and light are not just the middle of the shadow color and the highlight color. If the shadow and light are just mixed, it will look lifeless. If you look closely at the images, you will see that the gradations are saturated. It is particularly easy to see if this saturation has been removed.
Subsurface scattering – Strong light can penetrate and bounce off the surface of certain materials, then re-emerge. This will increase the saturation and lighten the surface from the inside. In the case of human skin, we sometimes see it on the hard edges between light and shadow.
Photo – the leaves on the upper side are shiny, which means that sometimes there is a blue-blue stone here. The light that shines through the leaf makes the underside more saturated, and this also applies to the ears and toes, which can turn particularly red in strong light.
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Photography – surface scattered on the fingertips. The light on the left side of the thumb is probably the light reflected from the index finger.
Photography – Note that the border only appears when the light is overexposed. It doesn’t look like it’s pronounced on the thumb.
Colors and values are relative. Various tricks can be used to trick the viewer into thinking that a color is really another color, or that the value is darker than it is. Unfortunately, the artist is also tricked into using more color or values than necessary.
A hard boundary between the two values will be much clearer than a soft one. You need to know when to use which. Sometimes the selection of values is very limited, for example when working in the shade. By using hard edges, you can describe more details with fewer values. However, using gradations is very useful for changing a value without the viewer noticing. The “false flat” figure looks flat, but is actually a gradient. The square is the same color as the left side of the “flat” rectangle.
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Colors of the same value in terms of relative hue. A common mistake is to draw one detail too saturated, then something else nearby looks gray, so to compensate you increase the saturation of that detail as well, so the whole painting becomes oversaturated.
It is easy to carry and carry with pointers. This makes it difficult to see what color the object is. Instead, you should use shadows to describe the volume of the subject.
Work with larger brushes and remove unnecessary brushes. See the worst and best examples below. I didn’t really do much on the second one. It’s actually simple. It’s surprising how much you can cover here and there. However, I spent extra time on my face. A bad face can ruin everything. The photo is for reference.
There is a picture
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