To the users of Photoshop software to explain the detailed analysis of the seven quickly improve the skills of digital painting.
When we get to the drawing board for the first time, we can not help but want to draw out the thoughts in our mind. But after trying to do it, we have to sigh that they have painted some God horse ghost things, so it is not easy to use a drawing board, but the good news is that many students will continue to try to create on the drawing boards. In the beginning of painting, some students will be accustomed to practice first and then the actual operation, but the process of this exercise is very boring: you want to draw a dragon, the result, you draw a worm ... This feeling of frustration can be very unpleasant. Therefore, this issue of foreign quality translation course will bring you seven kinds of skills to enhance the ability of digital painting, so that you do not have to pass those boring practice can be improved. Apply the skills you've learned here and you'll see real progress.
We usually start drawing slowly from a white canvas, and the stereotype forces us to draw light and shadow at the same time on white paper. But in fact, the shadow is accompanied by the emergence of light, as long as a little light, it will form a shadow.
So here we start with a black canvas, in which case you just need to draw the light and the shadow will naturally form as long as the light is drawn.
Open in Photoshop, invert the color by ctrl+i, and the fill background is black.
Reduce the opacity of the draft so that the outline of the draft is almost transparent.
Use your imagination, think about where the light is coming from, and then paint it white on the spot where it shines.
The light from above will form a reflection on the ground, so that beneath the animals there will be a reflection of the effect of light on the animals, but this time the light has been attenuated, forming a shadow effect.
That's how shadows are formed. This can be done here, and if you want to draw further, you can use the draft layer as a shadow layer in overlay blending mode, and then take the inspiration to continue authoring.
2. Control Color Quantity
There are many colors in the Photoshop palette, and ling Lang is everywhere, but PS won't tell you what color to use. Believe that in many people's eyes, these colors may look similar, then in the end choose which color to start painting it, green, yellow or yellow-green?
In reality, however, most objects have only a few colors, usually two or three major colors, and one or two colors are the details. If the color is used too much, the painted things will feel a bit fake. If you don't want to spend too much time choosing a color, prepare a number of color schemes before you start coloring. As shown in the following illustration:
By applying the following method, you can easily draw a shadow of any color:
(1) Dark light (darker, bluer)
(2) Shadows (Darker and bluer)
(3) reflected light (brighter than dark point, bluer and less saturation)
You can use Photoshop's hue/saturation adjustment layer to create a shaded effect on the primary color.
Next you can throw away the color board and start painting.
Apply dark light colors to areas where there is no connection gap.
Paint the area directly bright with the main color.
Use reflective light to paint the opposite side of the bright area.
After finishing the above painting, you can continue to add other colors, but be careful not to let the color change too strongly. As you can see above, plan the colors at the beginning and make the whole coloring process very smooth and natural. And if you want to experiment with specific coloring effects, we can easily see the process color, without the need to spend a lot of time.
3. Take color from reality
Sometimes you hear a professional say that a photo is not a good reference, and that it will get more out of reality. This is right, but few people say how hard the process is.
Let's say you want to draw a specific object. From the perspective of painting, we can see that each region has a set of colors. So from which set of colors start, from what color start, when because of neighboring color and look slightly different, how to choose?
If you use a photo as a color reference, you can use the PS eyedropper tool to try to find out where the shadow is. At the same time, you will be surprised to find that the shadows appear in unexpected places. Black objects can contain shades of blue and yellow, and white skin can be a shade of green and purple. So sometimes what you see and understand may be different.
Next, we'll put the eyedropper tool aside and use more educational tools.
Now prepare a hard cardboard without color, and if not, print a sheet with 50%k paper. Trim two square holes with a knife or scissors, with a side length of 10 mm and 5 mm.
Find a scene that you want to draw. If you only use it as an exercise, you can take pictures at will and then prepare the strokes. If you plan to do it without careful study, I'm afraid the result will disappoint you.
Separate the colors from the other colors using the hard cardboard that you prepared earlier. Then try to select the same color in the scene. With one eye closed, try to look through the paper jam as if it were painted on a paper jam.
Large area with generous hole, small area with small square hole. When the color of the two shades looks the same at first, you can use two square holes for color contrast. If a region is too small, even if you can't see the color with Fangkong, you can put the area first, and other large areas of the shadow set before processing.
Start with the most colorful area of the scene, and once these colors are fixed, you may not need to use the paper jam because your eyes are enough to help you pick colors to color.
That's it. It may be a bit difficult at first, but as the practice increases, the efficiency of the color resolution is higher and the paper is almost no longer jammed in the back. The benefit of this exercise is to make you realize the connection between color and color. By using the Eyedropper tool, you can consciously determine the type and location of the color, and this decision will be a valuable experience.
After completing the exercise, you may notice that you will begin to analyze the colors around you, which is an interesting experience that may make you feel a bit annoying, but over time you will naturally adapt.
4. Painting with a large brush
As we try to paint the image of our mind, as these images emerge from the process of being drawn slowly, you have to draw one step at a time, and there is no way to do it all at once.
Then the drawing process will produce other problems, if you want to draw a dragon, from where to start, should first draw wings or eyes, size and size of how to grasp, when to draw shadows?
The solution to these problems is the detail level of things. You begin with a wide range, not so precisely, and then gradually refine it. Such steps will allow you to have a holistic grasp of the pattern, will not appear in a meticulous depiction of the head, and the other is rough outline of the claws. You don't have to take the time to find the so-called "perfect brush", just start with a wide range of pictures.
Such an attempt will not take a lot of time, as long as from now on, the use of large irregular brush to start painting, and then use the brush to hit the light, if you see good results appear, continue to try. If the effect is not ideal, start again, it will not take much time. This approach does not guarantee that every result is good, but it will give you a chance to know that a wrong choice is waiting for you before you are ready to spend a lot of time.
Here again, a large brush does not mean a large stroke, but relative to the size of the painting object. Therefore, if you want to draw a small thumbnail sketch, then you should use a small brush.
5. Shadows are not formed by a single light source
When learning about light sources and shadows, we usually choose light sources. Once we know where the light is, we can immediately figure out which part is illuminated and where it belongs to the shadow.
However, if you look around, you will find that the object is rarely illuminated by a single light source in a single direction. Objects usually exist in ambient light, the light source may be irradiated from a single direction, but it will reflect in all directions, which allows the object to be like surrounded by light.
If you want the light and light effect of an object to be natural rather than dramatic, you need to master the following methods. This method will not be difficult, and you will understand it immediately.
Before we practice, we need to know a simple principle: the object is covered by the main light and reflected light, and the shadow is between the two.
Pictured above are birds flying in the dark and small birds irradiated by a single strong light source.
For more realistic scenarios, it's a good idea to set the shadow of the object before setting the light. To do so, it is necessary to use a light shadow color, painting is not a gap or similar place.
In this way, when the light source is set, the light that the bird is exposed to is not only the main light source, but also the ambient light from the sky.
If your understanding is correct, then in the first phase of lighting design, the object color should look like Figure 2, not 1.
If you forget the principle, here's one more time: When you start to paint the shadows, imagine that you are surrounded by faint light and illuminating objects. Only in this way can you begin to draw a natural light and shade effect. You may even find that your paintings do not require the intensity of light you imagine.
The Griffin is an eagle-winged beast in Greek mythology. When we want to draw a griffin, we imagine a lot of beautiful things: this is a very handsome monster, will be painted with these colors, and then it will be very beautiful ... And so on, and then turn on Photoshop. But don't paint first, ask yourself, have you ever painted a bird before, or a cat? The Griffin is imagined, but its parts are made up of animals. You can't just scribble it out and tell people it's the Griffin's beak, which doesn't look like any animal's beak, and then "because the Griffin only exists in legends, so you Know".
If you've never painted, you can't expect to be able to paint things right the first time. When you see an eagle, you can know it's an eagle, but that doesn't mean you know how to draw an eagle. If you haven't noticed these aspects, you can't draw the eagle well.
If you think you can draw it, try it before you start. Try to draw the Eagle's head or the lion's foot. Think it's easy? Well, you can start creating your griffin. It is also good if you find it difficult or impossible to accomplish, because you have just saved 1 hours of your time in not being able to finish your painting beautifully:
When you want to create a new inspiration, do the above exercises first. Find the elements that are included in your inspiration, and then break the elements out and draw each one out to see if you're right, if you're right, and start free. If not, don't lose heart, collect similar reference cases, and do a lot of practice.
This method is not just for drawing, such as practicing light, coloring, and synthesizing, you can study the practice first, don't let your inspiration become the practice skill and the beginning of the attempt.
7. Learn the value of color
When you start painting, start with a grayscale image and then paint, and you'll see that it makes your painting easier. However, such a step will let you ignore a very important thing-the color of the value.
Each color has its own brightness, but they also have the value of the color-the brightest blue is always darker than the brightest yellow.
If you change the following color gradient circle to grayscale, you will see the following effect chart.
This may seem a bit confusing, but you need to understand that green is bright gray, red is gray, and blue is dark gray. The other colors are the three colors added in different proportions, so it's easy to figure out.
Why is it so important? Let's take a look at what the birds just painted are in grayscale mode.
Here is the color you want to be on.
Paint a separate layer, and then set the blending mode to the color, which is the effect below.
Why is this? The color of the colors after the shadow layer is adjusted, it does not contain the original color information. For example: The blue on the bright shadow shows the illuminated effect by reducing the saturation. The result is that the blue is brightening, but not the way you want it to be, but PS will not appreciate your pains.
To solve this problem, add color in grayscale mode using superimposed blending mode. Replace blue with dark gray, bright gray instead of green ... Wait a minute.
If you add a color now, the effect is shown in the following illustration.
The best thing about color values is that you plan ahead with the factors that affect color. Our eyes are the first to notice the contrast of strong color, contrast if a little bit of color relatively less attention. Therefore, no matter how rich your picture color is, if you have a wrong color, the color will not be displayed correctly.
Color values are not only important in grayscale, they are also important when coloring, and you must know the fourth color attribute hidden in hue, saturation, and brightness. Remember, for the eyes, blue and yellow are not only "blue" and "yellow", but "dark" and "light".
Well, the above information is a small series of users of Photoshop's software to bring the detailed seven skills to enhance the ability to quickly digital painting to analyze the full content of the share, you see the users here are very clear now, I hope that the small series of the above tutorial can bring useful help.
