Photoshop adds real light and shade to the Jedi Knight

PS Tutorial Using a "Jedi Knight" case for the in-depth explanation, the author's ideas on the creation of a very worthy of reference. The coloring method used in the tutorial is based on how the 3D renderer works, and the final effect is achieved by overlapping multiple separate channels. This passage separation allows you to understand what to do.

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Start with a sketch and don't try to design a character on the side of the paint, unless you're very good at it, and even if that doesn't work out, Moxian will be the best to finalize. (Figure 01)

Pick the line up as a layer and set it to a positive overlay (multiply) mode or if you use painter to select the Gel (Gel) mode. Reducing layer transparency to your work is advisable. (Figure 02)

The following steps can be done in any order. Apply a flat coloring on a background layer, just as you would on a cels slice. To ensure that the brightness of the color is darker, at this time even white to be painted in gray. I usually have a color configuration in my head, in this case I use the same color configuration (red/orange/Yellow/brown) in contrast to blue. (Figure 03)

Draws an occlusion shadow on another layer. On the shadow of the occlusion I will say another, basically can be seen in the scene of the environment light is not easy to illuminate the gap. I added a white background to this layer and you can see it clearly. Do not write too bulky, do not feel like you want to use this step to paint the whole scene. (Figure 04)

Next, draw a separate light source on a new layer. If you want a basic character design, you might want it to be a neutral color light, but it's best to use a simple cold or warm configuration.

I usually depict everything with a hard edge, like the coloring of a cels animation, and then soften the boundary on the surface of the form, or do a gradient (mentioned in another tutorial) on the plane to the line of light and shade.

I paint with white for the bright part and convert the layer to "overlay (Overlay)" mode so that I can keep the color of my original painting. (Figure 05)

Is this a picture of a light layer and an occluded shadow layer that is visible at the same time on a blank background layer, like a sculpture? (Figure 06)

This is the result of the two layers superimposed on the previously drawn color background. (Figure 07)

If you want to have more light sources in the scene, use the "screen screens" mode of the layer, this pattern is like a real overlay layer. You can use this pattern of layers to improve the color and texture of the scene.

Now your drawing work has a good start and is ready to go into the deep phase.

The deep drawing phase should focus on two issues:

1. How will the viewer react to the subject?

2. Where do I want to see the viewer's eyes?

The first question has been answered partly because once you have decided on the light source and color configuration you have set up some of the emotional content of the screen. But at the moment you can still "add" emotions or ideas to your picture. Below is the current effect. (Figure 08)

My original idea was a bad-tempered Jedi, a character that was usually civilized and restrained, but the anger was about to explode.

I didn't paint like a Jedi when I was painting, but I still wanted to show that he was dangerous and explosive. I don't think the current light is up to the above requirements, but I don't want to start again.

The shadow effect of the image at the moment is useful on the active layer because you can change the position of the shadow as easily as it erases a part of a layer. So I use a shadow that covers the eye of the character to make the thriller in the movie so that I don't have to change any part of the character to make him mysterious and dangerous. (Figure 09)

This is a crucial moment to decide, and you will spend countless hours on unimportant matters if you are not careful. So usually I'm going to draw an emotional "heat map" that shows the movement of my sight in the image.

I'll take a break when I do this, and imagine that this is the first time I've seen this image, and I notice where my eyes naturally move. Then, through my emotions, I came to the point where I really should keep my eyes focused.

The following diagram shows the scribble path of my line of sight at the outset, but also a more constrained, hotter path that represents the viewer's visual process I expect. A simple path or shape is the best! (Figure 10)

Then I merged all the layers because my methods started to get messy. For me, layers are useful when the screen lays the groundwork, but after that it's just an obstacle, unless I need to create layers again, and soon after that I'll merge all the layers.

As I said earlier, my approach seems to be confusing from now on. Because I have prioritized my work by using the last hot picture and set the strongest contrast in the picture. In my hot picture, the hottest area is the face and the eyes, so I'll start by adding the details here.

I also deepened the shadows on my head to form the structure of the picture and lowered the contrast between the eyes, which would make the eyes more prominent, even if they were in shadow. (Figure 11)

The second priority is the hand. People often pay attention to the hands of characters, especially in this case, because they are part of the structural path, so the hand must be beautifully painted.

I began to fill in other details around the hand, such as the reflection of the liquid, because although most people's sight will follow the structural path, but in the "rest" part of the viewer some of the things that can be explored will make your picture rich and vivid feeling. To deepen the shadow, I also slightly improved the contrast. (Figure 12)

More details and structural adjustments. I highlighted the dust cloud behind the character to add a contrast to the edge of the character, but I kept it in a weaker state because in the frame it was the second path rather than the first path.

I also brightened my eyes a little bit so that they would jump some. (Figure 13)

Now for the final processing. I added a faint reflection to the desktop, fine-tuned the cloud and finished the details of the Water Cup (the cup that was first hoped to be the future). I lowered the character's eye circumference slightly, then added some subtle color edges to create a visual point of interest based on the structure path of the screen. (Figure 14)

When I wrote this tutorial I realized that I didn't fully imply the danger of the character (because now he's not like a Jedi), so I went back and added a few scars and broken clothes.

I'm not sure whether these details should be added, which is why I usually wait a day or so before I decide to add some details, because you sometimes make a decision that looks good, and later you wonder what you think, at least I am. (Figure 15)

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