PS Draw the Lost Babylon scene

The four ancient civilizations have been very revered by me, and they have created countless magnificent images on this beautiful planet. We all know a lot about ancient China, ancient India and Ancient Egypt, but the relatively few of the ancient Babylonian, my own curiosity about Babylon came from the middle School of a song "Love in B.C.", when the three words of Babylon had a strong interest in the Mesopotamia of the original yaping of the great country, although the existence of a short time, But left countless blind thought to posterity.

I've always wanted to draw a picture depicting Babylon. The concept of a picture, is a circle of my heart a dream, but I do not want to draw its glorious time appearance, I think it after the decline of the scene more touching people. Before drawing, I looked for a lot of references to Western Asian architecture and desert scenes, drafting deliberately set the scene of the atmosphere is sunny rather than gloomy, because I think the sun shining after the decay, this contrast can let people feel that a bit of silk desolate ...

The following are the drawing steps

　　First, the overall concept of drawing

Use a large spray gun to quickly draw the overall tone of the scene, this picture because it is a sunny scene, so the vision and the sky with blue as the main tone, close-up because of the plan to set some of the debris and desert, so the hue is yellow. Blue-yellow tone of the screen is more common, this tone of the screen can be better formed color contrast relationship and color complementary relationship, painting a beautiful rich color. (Figure 1)

Figure 1

　　Second, draw the basic composition

On the basis of Figure 1, draw a few more compositions to determine the foreground, the middle, the space of the vision, and what objects will appear in these spaces. Of course, brush can no longer use the gun, you can choose some than the gun a little hard a little brush. But do not choose to use too hard brush, because now still want to take the atmosphere to draw, instead of using the brush to depict the stage, with PS from these several brushes can be completed. (Figure 2, 3)

Figure 2

Figure 3

　　Third, the construction item modelling

In Fig. 3, the general composition is determined by the approximate shape of some objects, broken ladders, broken buildings and the wreckage of the tower. The point of this step is to determine the perspective line, the horizon. Because of this scene I want to draw it deep and strong, so the horizon is high, the perspective is slightly more complex, basically covers a point perspective, two point perspective and three point perspective. (Figure 4)

Figure 4

　　A little perspective

Figure 5

A point perspective is also called parallel perspective, the performance of a wide range, vertical deep strong, suitable for the performance of solemn and serious indoor space.

　　Two point perspective

Figure 6

Two point perspective also known as angle perspective, the effect is relatively free and lively, can be more realistic response to a sense of space.

　　Three Point perspective

Figure 7

Three point perspective is also called bevel perspective, it can better performance of the magnificent tall buildings.

　　Iv. strengthening the modeling of goods

Mainly to Figure 3 shape to do a concrete strengthening and determination, in the middle of the platform with the proportion of people, so that the proportion of objects to draw accurate, avoid the size of the imbalance. This step can be made with a few more hard brushes, but do not use particularly hard, to the back of the description left room. (Figure 8)

Figure 8

　　V. Adjust the perspective of the terrain

On the basis of Fig. 8, the overall shape perspective and terrain are adjusted to continue to make the longitudinal feel strong and perspective accurate. (Figure 9)

Figure 9

　　Six, superimposed material material

is a step in preparation for the later depiction, as the previous steps are basically laying the groundwork. To Figure 8 when the basic basically played well, object modeling, perspective, sense of space has been determined, so for the description of the back, the sixth step is a stack of material steps. The concrete material is mainly brick wall material, crack material. Superimposed on the material and then to depict can make the picture more vivid, more easy to play moving.

The specific method is: we choose good material material, and then use the deformation perspective tool to adjust the good angle, and then reduce the transparency, select a suitable layer properties to attach the material. (Figures 10, 11, 12)

Figure 10

Figure 11

Figure 12

　　Vii. Detail Description

After stacking the material to do some detail of the description of Figure 13 has the details of the texture, then make some adjustments to the overall picture, use the Lasso tool to select the scope of the foreground, and then press CTRL+B,CTRL+M to use the color adjustment tools and curve tools to make the foreground of the yellow tone more pure, the vision also uses this method to adjust the color. In order to have a good sense of depth, let the distant building in this step to virtual it, the specific way is to use the lasso to select the building, and then use the gradient tool, so that the gradient properties to color Dodge, transparency to 15%, and then color fade the gradient. The advantage of this method is that it does not change the sketch shadow relationship of the original object. (Figures 13, 14, 15)

Figure 13

Figure 14

Figure 15

Figure 16

　　Viii. Adjustment of the Vision

This step is mainly to adjust the vision of fine painting, so that the overall picture of the whole, for the final portrayal of preparation. (Figure 17)

Figure 17

　　Nine, in-depth portrayal of the whole

In Figure 8 on the basis of the overall characterization of in-depth, and then adjust the picture before and after the relationship, so that the focus of the screen, the overall picture atmosphere more vivid, the picture to this step is basically completed the picture. The final effect figure is shown below. (Figure 18)

Figure 18

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