Photoshop wonderful example: carefully try to figure out the complexion of human body

One, the theory part:
1. The first picture is the basic four colors used to paint the complexion of a Caucasian person. A yellow, a red, and a cool color, green and blue are all OK. Likewise, White is needed. If you use a limited color painting, or a dark color palette, black is included. But I don't include black here, and I want to ignore that color until we're really ready to use it.

The top of the example diagram is the blending of the four basic colors, but there is no shadow color, because we don't care about those, we just need skin tones.

The part of Figure One-second is the Garon and yellow midtones, and how they blend with each other. You can use any combination of intensity and try it everywhere.

Rosy is a good idea for making perfect skin color, there are so many changes in skin color, different people, different art images. If someone needs drew Struzan to draw the portrait of Harrison Ford, he will ask what style of depiction do you want to get? Emphasis on painting or the pursuit of realism. This is a difference, and the difference will tell you whether you should directly use the pigments that are extruded in the tin tube.

Figure 1: Mixing intensity of various tones

The Pirate map of 2.Spooge (pictured below) is a perfect example of using only tawny. He uses a nearly monochrome palette, which is basically warm. Especially yellow to the range of orange, he used these colors to render all the middle tones, forming a very living and contagious picture. Here, the solid colored is neglected.

Figure 2: Tonal Mastery-a fairly contagious example

3. As shown in the figure:

Figure 3: Shaping image volume with different levels of monochrome range

"1" is a monochrome exercise, with only red. I shaped the volume in the color of 3 different color bands in the Red Range. That's the key part of any image. To think carefully, if you do not understand thoroughly, then painting will fail, the skill of the efforts will be in vain.

This image is used to indicate that you can use any color to achieve the desired effect. Obviously, this is an example of using monochrome to shape a form.

"2" is a two-color image, meaning I use 2 colors of painting. Add a color and then reconcile to the effect I need. In painting, I also use black and white to adjust the color of gray, less black, do not destroy the vitality of the color.

Focus:

When you use the "2" way to paint and mix colors to get shadows and dark parts. You mix the relative right colors to fit those parts. If the shadow part of the object is red, I also need to paint in red, because it is the color of the object. But the relative value of the shadow part is usually in the darkest part, or in the bright area where the color concentration changes. The color bands of the light and dark are only changes in the level of 2-3 cuts (in the knowledge of the commonly used levels of color change, black is 1, white is 9, but do not rely solely on the textbook knowledge learned in school). So I used red to make sure that the dark part was like that red head. To make the image stand out from the background, you can use a lot of colors. Also, in the dark part of the blue added to and those red in a level of color. This is one that lets you use color painting and keep the lust level and brightness focus.

The thin slice of "3" was bright red and yellow. The larger ellipse uses some basic colours and is more suitable for realistic painting. They all mean the same thing, like Drew Struzan's painting, when you use color painting you should take into account the relationship between color and levels of lightness.

The "4" image has a slight depth change, but please study it carefully. This photo is a typical reference map, if I am naïve about the art of painting, I mean to use the color straw to draw any part of the reference map, so that my painting looks more realistic. If I draw this picture in a professional way, I will consider more. Simplifying colors will be the biggest factor in my consideration. If we put light on one side, we only use shape to deal with, this is the most important thing in painting. Now let's look at the icons, and I've used 4 different levels of lightness, which is the change in the maximum volume transition surface I'm trying to show, not all the details are exhaustive. I omitted some details, and if I knew how to keep the interest center of the picture, they would be part of that 4 big level.

From all the artists I've ever studied, almost everyone will say keep the picture simple and keep the color level simple. Not more than 5 levels, but not less than 3 levels ...

Then I will sum up the theory part roughly.

1. The combination of color relationship and sketch relationship is the corresponding relation between color and color stratum. Many times we draw the color map to grayscale will look very bad, because there is no arrangement of good color and lightness of the relationship.

2. Learn how to simplify, generalize, and omit by art, not as much as pirated photos. The level is not the more delicate the better, not more than 5 levels, but also not less than 3 levels.

3. The description of the details should be for the interest center of the picture service, the details should be subject to the overall relationship.

Second, the example part:
OK, after talking about the color theory, let's practice it with a simple example. Okay, here we go. This is a reference map, as well as the palette I use. I don't like the amount of blue on the people's shirts in the reference picture, so they reduce the color concentration. I chose 3 layers of color or 3 shades of color on the palette, as I have repeatedly mentioned in my previous tutorial. When you first start at 3-4 levels, don't be a lot more. 2 levels of too much adornment, 5 levels too easy to confuse. 3 or 4 level levels are the most comfortable. You can go back to the works of any Baroque masters and experience this theory in their paintings.

Figure 4: The image below will be used as an example

Palette:

Figure 5: Color palette

(1) My first step is to draw roughly 3 basic shapes and give them a corresponding color-order relationship. There's no sideline, just big shapes.

　　
Figure 6: Drawing a large shape

(2) Now, I need to further determine the basic form of the relationship, if there are some deviations, it is time to amend them. Notice what the sketch shows? I demonstrated how I understood a chunk of color. What's going on in my head? techniques, ideas. I was just painting. I'm not drawing, I've been doing cartography for a long time, I need only painting or crazy.

Figure 7: Hook up the sideline

(3) Continue painting, I began to accurately split the face ratio, vertical to the head divided into 3 parts. respectively: Hairline to eyebrow bow line, eyebrow bow to nose bottom, nose to chin. It then begins to split the face horizontally, with the center of the two eyes roughly retaining the position of an eye. Then draw out some of the basic features of the shape and lines, and now began to formal painting.

Three-stop five-eye facial features positioning theory ...

Figure 8: Begin accurate segmentation of face proportions

(4) Start to shape the face, I draw the basic volume relationship. Because it is the northern light, so the shadow is ambiguous, to the size of the mold increased the difficulty. This is the reason why I chose this reference chart. I began to pay attention to the darker parts of the face, with the basic color similar to the hue, but to deepen the color, showing the head of the basic turning surface relationship.

　　

Figure 9: Start shaping the face

(5) Set the color relationship of the forehead, as well as the cheekbones, jaw range characteristics. The forehead color is somewhat yellow, the cheekbones part of the color is somewhat red some, the beard part is partial blue some. Because of the reflective impression of the shirt, the jaw part of the character also has a corresponding color map of the cold environment.

Figure 10: Setting color relationships in different locations

(6) I started the whole overall color, and make the corresponding color adjustment. Don't worry about whether you're drawing it, just think about the turning surface. When I was painting, I fully understood how these faces turned over, and the screen began to have three-dimensional effect.

　　

Figure 11: Full Color spread

(7) Reflection and comparison of various forms of physical transition, the face of the positive facial depiction is more difficult to effect. The cheek is partly because of the reflective screen behind the model, with a certain iron cyan. So is the shirt part. In this step, I begin to determine the details of the section, including wrinkles, the high light of the eye ...

Figure 12: Determining the Details section

Figure 12: Determining the Details section

Finally complete the diagram:

　　

Figure 13: Final Completion diagram

Basically finished, I began to adjust some of the edge of the actual relationship. Don't omit the important details. At the same time, it is important for me to confirm whether the three major levels of drafting are still present.

Turn from: Dynamic Network production guide www.knowsky.com