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DIGITAL PAINTING TUTORIAL SERIES :
VOLUME TWO
CONTENTS
ROCK AND STONE
Rich Tilbury
CHAPTER 01
003
ROCK AND STONE
Vinegar
CHAPTER 02
009
SKY
Linda Tso
CHAPTER 03
017
SKY
AquaSixio
CHAPTER 04
023
SKY
Rich Tilbury
CHAPTER 05
034
SKIN
Rich Tilbury
CHAPTER 06
040
SKIN
Emrah Elmasli
CHAPTER 07
045
TREES
Chris Thunig
CHAPTER 08
052
TREES
Rich Tilbury
CHAPTER 09
058
WATER
Rich Tilbury
CHAPTER 10
063
WATERFALL
Don Seegmiller
CHAPTER 11
071
ROCK & STONE
Chapter 1 : By Richard Tilbury
elements
Rock and Stone
Painting
Rock and Stone
Step 1:
The irst stage which forms the starting point
for most of my digital work is a sketch done on
paper. This is where I assemble any unformed
ideas and decide on how the composition
will be structured and try and give myself a
template to begin working from. In Fig01 you
can see a pencil sketch that I scanned in which
would form the basis of my inal painting. For
this tutorial I wanted to combine a natural
looking rock face that incorporated some
element of architecture that had been carved
into the stone.
light source I simply erased parts of this layer
involved with details. In order to keep control
Step 2:
The next stage was to get rid of the glaring
to reveal the white underneath (Fig02). It is
of the painting process I ind it is best to work
important to deine the light source as this is
on a larger scale to begin with and gradually
paramount in how the viewer reads the image
work your way down to the iner detail. In other
white of the image and so I traced around
and interprets the forms. Rock can be a dificult
words, decide on a light source and block in
the drawing and on a separate layer which
subject to paint as it varies tremendously, not
the main highlights and shadows and carve
I named “Background”, I used the Gradient
only in its colouration but more importantly
out the general structure and form of your
tool fading from a pale to a darker green. On
in its structure and the types of formations it
image before concentrating on the numerous
another new layer set to Hard Light I used a
adopts. Because its surface is so uneven with
incidental passages that will help add interest
dark grey and illed in the area that makes
so many undulations and crevices it is easy
and detail to the inal piece.
up the rock itself and then to establish the
to loose sight of the overall form and get too
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v2 Elements : Rock and Stone
elements
Rock and Stone
Step 3:
In Fig03 you will notice that I have added a
new layer which I called “Main” and begun
to rough in some of the areas that fall into
shadow and started to shape some of the
crevices. I used warm tones ranging between
those seen on the left using a standard soft
round airbrush with a varied diameter. I set the
opacity to between 65 and 100% and the low
to around 50% using pen pressure to control
it as shown below the brush presets. It does
not matter too much how rough your marks are
at this stage as the painting will go through a
process of reinement until it is inished. Quick
and seemingly random marks are perfectly
suitable and may even inadvertently suggest
part of the inal outcome so be bold and
carefree!
Step 4:
At the moment the light areas on the rock face
appear far too light. I want to create quite a
smooth and relective surface but white should
only be reserved for the extreme highlights
and not used across the entire picture. In order
to tone it down I’ve added a new layer set to
multiply at 71% which I called “Overlay”, and
with a very pale brown illed in some warm
tones to soften the contrast and reduce the
white to certain areas (Fig04).
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v2 Elements : Rock and Stone
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