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"Points of View" is the name of a work that reviews the physical comparisons and different visual sensations from different angles and viewpoints. I designed matte to illustrate this argument by mixing all the strong and romantic light to provide a strong contrast to the future "icy" city. Then I started the image matte and transferred my thoughts to the paper. Usually I start by drawing a pencil around the subject, studying the position of each element to get a dynamic composition. But in the matte process I only studied the concept in Photoshop because I already had a picture of the one associated with Davide Scridel.
After understanding what I wanted to communicate and realize, and design the various elements, I began to make a quick drawing.
Quick Drawing is a very useful way to create a background picture in a more ideal and easy way. This allows us to better understand the light and chroma of the work, to study the depth and various factors. That's why I want to say something about quick painting first when I introduce the next steps.
Rapid painting, as previously said, is the key to the success of the final work. I started with the lens of the study (Fig. 01).
At this stage, I want to speed up the progress of the work, using only a simple default PS brush. I was thinking about how to make people realize what I thought, and then I divided the structure into three parts and put one or two characters in. This gives the character image a very visually shocking position, which highlights his importance, the various elements of the position to make my own satisfaction, I continue to paint quickly.
In the quick drawing, I studied the light, atmosphere and color of the different objects that will form the whole work. At this point, it is important to remember that the foreground elements will darken and become clear, and that those visions will be intertwined to lose some detail. It is helpful to create a quick drawing as close to the end result as possible, so that when you want to mix the color of the panorama, the work becomes very simple. As common sense, I continue to focus on the quick drawing of the approximate color elements and the light, knowing all my satisfaction so far (Figure 02).
As you can see from Figure 3, at this stage, I used a more precise brush. To help understand this step, I have prepared a simple example of a very promising step in making a cloud (Fig. 04).
Always be careful when looking for the right reference. People (and myself included) often tend to choose photos of their own beauty contests instead of the overall composition of their work. This may lead to a reference to the wrong choice, light, color, these difficult to blend elements of the selection direction is likely to be wrong, or matte image is inappropriate. It takes more time to fix these than simply looking for a better reference.
When I started matte, I immediately replaced the sky scene, and for this matte, I had chosen a separate sky scene for myself to shoot. So I cleared the old one, and then I did the following: I chose the channel of the original image to figure out which channel is more contrast to the area that needs to be typed. Then I copied it, using the tonal curves to crush and compare the original. This gives me some shades of gray in different areas and then converts the shaded selection by holding down the CTRL key and clicking on the Copy channel icon. The remaining, gray, complex areas are used with available tools and mixes and eliminates. The next step is to insert a new Sky scene and do the appropriate color correction, as shown in Figure 05. I carefully diluted the chroma of the sky scene and cleaned it, especially in the lower part. If the sky scene has not been corrected, it is likely that the overall composition will leave a strong luminosity of the color perception.
By roughly setting the color/lighting and shading, I finished this stage matte, because I know that later it will involve details and definitions added.
When defining the city, I quickly determined its size and the various buildings to interact with each other. Then I found the outlines of some famous city buildings, placed them in a certain order to fit the global scale, and corrected the colors to get the correct chroma between the various elements. To make the effect of the sun, I copied the horizontal layer, greatly improve its contrast, and then turn it orange. In screen mode, I then merged it with the original, normalized its strength and density, and then I hid the shaded area with layers of masking.
As for the central building, I joined a few skyscrapers to make a huge palace together and enrich the details. To this end, I also refer to some texture maps, applied to the drawn parts, and these rendering elements to make the overall picture more complete, but also let drawn parts matte size redefined after the more real. (Figure 06)
The final stage of the production, spent a lot of time. In this process I added the details of the matte. The final correction was made, and the horizontal layer was also added to detail elements such as lights, fog, haze, spacecraft, seagulls, and so on. I used the bin and lantern tools in 3Ds Max to create a ship, because using 3D to make this is more time-saving than reference. As a last step, I added the fog (Figure 07). This simple process can be accomplished by using the filter "cloud" in PS and eliminating the black area.
This production, I always want a suitable number of steps, not too much, nor too little. The final inspection car work, I "overturned" the horizontal layer, increased the sun's rays and a little pixel deviation of the small light point of the skyline of the skyscraper (especially in the shaded part).
Then I check the various elements in the scene, the item to see if all the shadow is matched, the depth of the good, whether there is need to add details and so on.
The following is the image of the species (Figure 08)
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