Feb 18, Resources (1). Sign in or Join for free to access materials. Name. Added. File Size. Digital Texturing and Painting. Feb 18, MB. Digital Texturing and Painting [Owen Demers] on medical-site.info *FREE* shipping on qualifying offers. This book takes you outside the studio and walks you. apart surfaces and their textures, looking for clues that will help me figure out how to re-create them in my paintings or digital artwork -. In this book, you'll learn.
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Aug 17, Download Now: medical-site.info?book= Read Digital Texturing and Painting Free #ebook #full #read #pdf #online. Sep 7, KWH. #PDF~ Digital Texturing and Painting Epub. Detail ○ ○ ○ ○ ○ ○. Author : Owen Demers Pages: pages Publisher: New Riders. Digital Texturing & Painting - Ebook download as PDF File .pdf) or read book online. manual digital painting.
Correct any flaws on that photograph first, using tools like the Clone Stamp tool. Add a new layer. Select a color for this layer. Select the layer and Edit — Fill with the color you have selected for your charcoal paper.
This is like shopping in an art supply store, browsing through the drawers of various papers, looking for the exact shade of charcoal paper that you would like to use. Copy the corrected background photo and place it on top of the stack of layers. My perception of the filter and its possible artistic possibilities changed in an instant. Most Photoshop users have tried Filters — Stylize — Find Edges as a method of achieving a line drawing.
Although Find Edges does create a line drawing, as it looks for differences along the edge of items, it does not give you any sliders to manipulate the brightness and thickness of those liners. Glowing Edges, its digital cousin, gives you tools to control the quality of your lines. When using Glowing Edges we generally want the line to be narrow and bright, with increased smoothness.
The Glowing Edges filter produces a black background with a neon, multicolored line drawing. Go to Image — Adjustments — Invert. That will convert the image to a white background. Next, use Image — Adjustments — Desaturate to create a black-and-white line drawing. Now the fun really begins! Set the Blending Mode of that drawing layer to Multiply.
With Multiply as a Blending Mode, white disappears. Now you have a drawing on your charcoal paper. Copy the corrected background layer yet another time and place it at the top of your layer stack.
Use Image — Adjustments — Desaturate, turning it into a black-and-white photo. Curves was used to increase the contrast of the image. This will form your granular charcoal dust specks in the finished piece of artwork. That will immediately hide the current layer. Select a brush and paint with white on the mask, revealing those charcoal specks.
We painted the flower area using white on the mask with that rough, textured brush. It yields a grainy, sketch-like effect due to the combination of the Add Noise filter and the textured brush that we are using. This creates a Pattern Fill Adjustment Layer. There are so many varieties of textured patterns see Chapter 2 to choose from. It is always a wise choice to save your file with all the layers intact, in case you ever want to come back and make alterations. We generally save in the psd format Photoshop Document.
You can then flatten the document and use the Save As command. Using this method, you will not accidentally write over your layered original file. Another possibility is to use the Save and Copy option, in the Save As dialog. Our next task is to create some sketchy edges for our image. The file was flattened and a new layer was created and filled with white Edit — Fill — Choose White.
We wanted this white layer to be underneath our image layer. Photoshop will not allow you to put a layer underneath a layer that is called Background. It is sort of like trying to put some building materials underneath the bedrock of the earth. If, however, the name of the layer is not Background, you will be okay. So simply change the name of the Background Layer.
Double-click on the name Background, and type a new name in the menu box. This known as promoting a Background Layer to a Standard Layer. You can also drag the lock icon to the trash to promote. Paint on the mask with a rough, textured brush loaded with the color black.
Do that all around the edges, revealing the pure white layer underneath. A Layer Mask is totally forgiving. If you find you have gone too far, just switch to the color white on your mask to reverse any imperfections.
Duplicate this layer by dragging the layer to the new layer icon at the bottom of the Layer Palette. Set the Blending Mode to Multiply and reduce the opacity on this duplicate layer. We continued to paint a bit more with black on the mask edges. The charcoal Camellia seemed to have an antique quality to it, so to accent that feel a new layer was added and filled with a soft butterscotch color.
The Blending Mode was set to Multiply and the opacity was lowered until the desired effect was achieved. One of the best side effects of this technique is the absence of charcoal dust under your fingernails, the lack of dust smeared up your drawing arm, and no toxic fumes from fixative spray.
Bridal Portrait with Tiny Charcoal Marks A charcoal sketch effect can be very lovely for a portrait, especially a bridal portrait. Photographers are always looking for a different look for their portraits, for something that sets them apart from the competition.
A charcoal sketch could be just that added something special. In this example, a small brush size was used and many, many small strokes were crosshatched throughout the piece as it was made. There really is no substitute for tiny brush strokes for this effect. Take your time and render the piece section by section.
Do not be tempted to use a large brush to cover more territory quickly. Slow and steady are the keys to this sketch effect. The color of the paper was a soft golden-beige. We will begin with a color digital shot of the Amalfi coast in Italy. The color of charcoal paper selected was a grayish-blue. Using grain as our method of getting charcoal dust this time, we set the intensity at 84 and the contrast at 9. The preview gives a glimpse of the effect live.
Vary the brush size as needed. The layers were flattened, the drawing layer was copied, and a Filter — Blur — Gaussian Blur was applied, softening the charcoal look on the duplicate layer. This technique yields a softer look. A nondestructive method of doing this is to eliminate flattening and convert to a Smart Object and apply a Smart Filter for Gaussian Blur.
You can then change the blur values and blending modes and even mask the filter. Conte and Charcoal Rendering Another technique that can be used with charcoals is a neighboring art material, conte. Conte is a brownish-red chalk often used by charcoal artists in drawing, especially for portraits. Sometimes the artist will combine black charcoal, white chalk, and conte in a combined medium rendition. In the real world, this type of drawing is extremely vulnerable to smudging and smearing due to the loose, chalky nature of the materials used.
In our digital world we are free of smears. Our hands and nails are not covered in smeary dust particles. Mark that as another digital triumph over the real world. Our next example, featuring a U. Civil War re-enactor on horseback, will make use of both the charcoal and the conte look. There are many techniques for achieving a sepia-type coloring for your photographs.
In this example we duplicated the background layer and used the Image — Adjustment — Black-and-White Conversion, using a custom setting, modified from the high-contrast blue setting and checking the tint box, setting the Hue at 24 and Saturation at The second duplicated Background Layer is used as a drawing layer.
We used Filter — Stylize — Glowing Edges on it. Once the filter was applied, the layer was desaturated and inverted under the Image — Invert command and Image — De-Saturate command. A new layer was created and placed under the newly created drawing layer. It was filled with a soft beige tone, using Edit — Fill. That is our charcoal paper color. The drawing layer was set to the Multiply Blending Mode. By setting the Blending Mode on Multiply, the color white disappears and we see our drawing on beige charcoal paper.
The background was duplicated again and a black-and-white conversion was made. Then Filter — Add Noise was used for a grainy effect, as we have seen in previous examples in this chapter. Some areas were left vacant to let the color of the paper show through. With the drawing segment complete, a pattern was applied to the whole image, using Pattern Fill Layer.
It is found in the Grayscale Paper Library under Patterns. As you can see, the possibilities are quite wide for charcoal interpretations within Photoshop.
They can be strictly black-and-white or you can add a touch of color. We can approximate the grainy feel of charcoal by adding noise to our images. And last, we can add a paper texture to our sketch by means of a Pattern Fill Layer. Something tells me that Leonardo would have jumped into this digital technology with both feet. As an artist, he was always experimenting with new materials. Sadly, that is the cause of the deterioration of his famed The Last Supper, in Milan.
Leonardo was using oil paints on a water-based substrate, plaster. The two different materials have been fighting each other for almost six hundred years. Despite failures and setbacks, Leonardo continued to invent and dream. He certainly had insight, curiosity, and adventure in his spirit.
That makes him a bona fide candidate for digital fine art in my mind. We have a fabulous new material at our fingertips: And despite the use of digital charcoal, those very fingertips are clean. I invite you to explore and experiment, in the spirit of Leonardo da Vinci. When you think of pastels, do you conjure up the quick gestural work of ballet dancers by Degas? Did you know that Degas was also a fine photographer? Perhaps you think of the work of Toulouse-Lautrec.
There is a long list of well-known artists who have worked in this medium. Pastels are a fabulous art medium. They yield vivid colors. They are very immediate, allowing everything from a quick sketch to a more complex rendering. They are very portable. They do not require a solvent or medium, like oils and acrylics. They are dry, unlike watercolors, which require water to apply. They handle easily, like a pencil. In short, they are a great choice for making art.
Pastels are made from compressed particles of colored pigments. There are a riot of colors available. The pastel quality varies widely, from hard and FIG. Of course, there are many types of pastels that lie somewhere in the middle of these two extremes, including the chalks that street artists use as they make their mini-masterpieces on the streets of tourist locales.
Although pastels are a dry media, in many ways they resemble a painting. They have the ability to create areas dense and rich in color. They can also be applied with a soft, delicate touch and a whisper of color. Some pastel artists use a special board or paper that has minute particles of sand embedded on the top. This sanded paper comes in many colors. In fact, most pastels are created on colored paper, not white paper. It helps the computer artist to understand the look of a pastel as we try to create a similar feel with our computer generated art.
Texture will be the key to the look and feel of traditional pastels. Fortunately, Photoshop is loaded with great tools and patterns to aid us in this task. As a digital artist working in Photoshop, you will need to simulate the effect of colored particles of pigment on a textured surface. To accomplish this effect, our two main tools will be specialized brushes and textured papers. Brushes and textured paper are covered in Chapter 2.
Pastel Techniques In this example we will start with the look of a basic pencil sketch, not unlike the preparation of a traditional pastel drawing. The photo used is actually a scan of a flower, which was placed directly on the scanning bed. Your scanner can make a great camera, with a shallow depth of field. Duplicate your background layer and use Filter — Stylize — Glowing Edges on it.
On that duplicate layer use Image — Adjustment — Invert. This creates our sketch, but we still need to get rid of the color in this duplicate layer, so use Image — Adjustment — Desaturate. Now we have something that resembles a graphite pencil sketch. Add a new layer above your Background Layer and fill it with the color that you would like for your paper. This is like selecting the pastel paper in the art supply store.
I chose a light olive green. This eliminates the color white, and the sketch appears on the colored paper. Duplicate the background layer again and add a Hide All Layer Mask this is solidly black, revealing the sketch underneath.
Select a very scratchy, irregular brush that reacts with a grainy feel. Paint with the color white on this mask, using the grainy brush. It will pull the color from the photo and use it as pigment to be deposited on your sketch.
Allow some paper to show through, as it would in a real pastel. Now we will add a little more texture. Use a Pattern Fill Layer. Select a textured pattern for the surface texture of your paper.
I used the Charcoal Flecks Pattern. Set the Blending Mode for this adjustment layer to Multiply. I often add color and erase color on the mask several times, using that scruffy brush, to build up texture and enrich the quality of my mark making.
If I want to further enhance the image, I may add another layer and paint with any color on that separate layer which is above the nearly completed drawing, but beneath the Pattern Adjustment Layer. I often add a touch of a more saturated version of the color beneath, spicing up the general appearance.
This example allows the sketch layer to softly lead the viewer into the image. This effect was achieved by not extending the colored pastels layer all the way to the edges. Making a Pastel Brush There are many different types of brushes available to you in Photoshop in various libraries see Chapter 2.
There are several that work very well as a pastel brush. These brushes have areas, within the stroke, that are free of 99 Digital Painting in Photoshop color. This simulates real-world pastels and textured paper or board.
But, if you are a stickler for authenticity, we can make our own pastel brush. We made a few marks on a sanded pastel board that was medium in tone. The pastel colors used were white and a dark brown. I scanned the marks into my computer. Notice the areas of the stroke that are skipped and the rough edges of the stroke.
Since the marks were in color, the image was desaturated Image — Adjustments — Desaturate. The grey sanded board needed to become white for this technique, so the tones were adjusted in Curves. Since the bumpy, sand-covered board still showed some texture in the areas outside the mark, those white areas were painted with a brush loaded with white. All that is needed to create a new brush from this doctored scan is to go to Edit — Define Brush Preset.
The next step is simple—name your new brush. This one is huge over pixels wide , but brushes can always be scaled down. The next time you pull down the brush selection list, you will notice your new brush at the end of the brush option list. The other scanned pastel mark was made with white pastel. Again, desaturate the color. The image was then inverted Image — Adjustments — Invert. After the tones were modified in Curves, making the gray areas white, the brush was defined as another brush preset.
The possibilities are virtually endless; you can make as many custom brushes as you want. Now we can try that new brush. This pastel of newborn baby Anne followed all the steps that we used in our first example Figures to We varied the size of the brush as needed.
Feel free to add another layer and brush on additional color to accent the composition. Because the additional color is confined to a separate layer, it can easily be erased or removed without harming the original sketch. Printing Considerations There are so many quality papers now available for digital printing. We recommend using a textured paper from a good paper mill, a paper that has a bit of a bump in the surface.
It will continue to enhance the feel of your digital pastel. Be brave. Add another blank layer, and using a scratchy brush perhaps of your own design add additional colors. Usually these complimentary strokes should be done at a low opacity. Have fun stirring up some digital dust! We use Photoshop to alter the crop on our image, enhance saturation or contrast, remove unsightly blemishes or red eye, and, in short, improve our photographs.
Yes, Photoshop is indeed the premiere program for these tasks. But have you ever thought about painting in Photoshop?
I mean making brush strokes that are truly painterly. Photoshop contains hidden tools that are perfect for painting. Like many hidden things, they are actually right there in plain view. It is like the experience of shopping for a particular make of car. Once you begin concentrating on that type of car, you suddenly see them everywhere you travel.
Likewise, once you start to concentrate on the tool options for painting, you will see that they are plentiful. You undoubtedly use the Brush tool in Photoshop, probably for masking and other tasks. They are the most frequently used and practical Brush tools. Have you ever allowed yourself to look for any other type of Photoshop brush? Have you made a brush of your own from scratch? Brief History of Watercolor Watercolor is a fabulous art medium. It can be used to create a fresh, quick, and semitransparent painting.
It can be layered with washes, building up the density of color, creating a densely colored painting. Watercolor paintings can be quick or labored in the amount of time required. The look varies, depending on intent and the techniques used. Art supply stores sell watercolors in dry cakes or in tubes filled with wet paint. As the name implies, the medium is reconstituted or thinned with water. There is a bit of binder used in watercolors usually gum arabic, with glycerin.
Another type of watercolor is gouache. Gouache is more opaque due to opacifiers, like chalk or zinc oxide. More opaque than gouache is tempera. Tempera pigments can be mixed with an egg yolk as a binder. Andrew Wyeth is a modern master of egg tempera painting. As you can see, there are many water media paints available. One popular technique is called wet-on-wet.
The watercolor paper is taped down onto a drawing board, and a wash of water is applied with a wide, flat brush.
The water is allowed to absorb and evaporate a bit. Watercolor washes are then applied, thus working wet paint into wet paper. This technique is often used for the sky area of landscape paintings. When working wet-on-wet, pigment rapidly spreads out in the wet surface, fanning color into wet areas.
The opposite effect is called dry brush. In this technique, paint is dabbed off the brush onto an absorbent toweling or cloth, leaving a very minimal amount of paint on the brush. That thin pigment is then applied in an almost dry manner. This technique is good for hair, foliage, etc. Watercolor paper is often thick, even very thick. Watercolor paper often has a very noticeable texture and is white or off-white in color.
Many watercolorists do not use a white pigment, allowing the white of the paper to shine through where needed. Avoiding future white areas of the painting, as you paint can take some very careful planning. We will simulate watercolor mediums digitally in this chapter.
Watercolor Technique FIG. Begin by opening a photograph that you would like to render in a watercolor painting effect. My photograph was taken in Iceland, near dusk. Duplicate the photo twice. An easy method to duplicate a layer is to drag the layer to the New Layer icon, at the bottom of the Layers Palette. On the first duplicate layer, directly above the background image, apply Filter — Blur — Smart Blur.
This lessens detail, creating blocks of color. On the second duplicate layer, on top of the layer stack, apply Filter — Stylize — Glowing Edges. That creates a pencil-like drawing. Now, duplicate the original photo again, for the third time. Place it on the top of the layer stack. This will be our canvas. Paint with black, at a low opacity, on the top layer. Let some white show through, especially along the outside edges.
Vary the size and opacity and stroke on some detail. Select Pattern in the Layer Adjustments. Here is where our paper textures come in. That lends the textural feel of watercolor paper. Instructions on using Pattern textures can be found in Chapter 2. The next step is not necessary, but it adds a little detail. Duplicate the original photo yet again. I put it on the top of the layer stack and applied the Watercolor Filter to it.
Remember early in this book I said that putting a Watercolor Filter on a photo does not make it a watercolor. I stand by that statement, but here is where it can be useful. Add a Hide All Layer Mask. That conceals the new, watercolor-filtered layer.
Paint on the mask with white, at a low opacity, revealing little glimpses of that watercolor effect in random areas. This adds just the tiniest bit of that effect. It is like the cherry on the top of an ice cream sundae.
Finally, I removed the outline sketch for a more subtle, cohesive appearance. This piece, and others similar in effect, look good when they are printed on a good quality, bumpy, inkjet watercolor paper.
Watercolor Brushes When simulating the effect of a true watercolor it is important to pick the correct brush for the desired effect. There are many options contained in Photoshop. It would be wise to experiment on a sample image, just to get the feel of the various brushes. Here are some examples.
Pattern Stamp Watercolor Technique Photoshop has so many ways in which we can make a painting. The technique in this tutorial uses a tool that you may have never used before: I find that most Photoshop users only stumble upon the Pattern Stamp tool when they reach for the Clone Stamp tool and accidentally grab the Pattern Stamp tool, since it is bundled with the Clone Stamp tool.
They realize their mistake when a bizarre pattern of bubbles is deposited on their photo. The Bubble Pattern is the default pattern. We will use this underutilized tool to create a painting. This technique is easy, quick, and fun. First select a photograph that is suitable for a painting. I selected a photo of a gull, taken in Maine. Use Select — All. Chose Edit — Define Pattern.
The photo will appear in the dialogue box, with a suggested name. Click on OK. Select the Pattern Stamp tool. At the top of the page, where all the modifiers appear for your tools, scroll down through the list of the patterns and you will discover your photo at the bottom of the list. It is now officially a pattern. With the Pattern Stamp tool selected, choose a brush. Brush libraries are located in a pull-down menu when you click on the triangle at the top right-hand side of the Brush menu.
With a large version of that brush, I roughed in the painting on the white layer. Be sure to have the Impressionist option checked in the Options bar. Continue brushing the surface of the painting, trying to follow the contour of the objects that you are painting. Vary the size of the brush as needed. A smaller brush will yield more detail. Add a new transparent layer.
On that layer some additional blue and pink were added with a large brush at a low opacity. The direction of the blur was set to be vertical to the painting, thus creating a wash of color that blended and ran a bit with our digital gravity, just like a real watercolor. I recommend that you inspect the entire painting, section by section, making alterations as you find the need.
This is the completed watercolor painting made with the Pattern Stamp tool. I hope you enjoy this simple painting technique. In reality, the Pattern Stamp tool used your entire original photo as the clone source, duplicating the colors and placement of those colors.
You determine the painterly effect by your choice of a particular brush. Remember that a smaller brush creates more detail. A larger brush is good for roughing-in the basic painting, or for a loose rendition. Go crazy with this artistic technique. Vary your brushes for different effects and see where this process takes your photos. Here is another example of digital watercolor paintings made with this Pattern Stamp tool technique. Its icon has a curly-Q stroke on the brush. That is your first clue about the nature of this brush.
It deposits marks that have names such as tight curl, loose medium, dab, and tight short. It pulls color information from the photo you opened. In essence, it is using the photo as your clone source and depositing a particular looking brush stroke on another layer.
A new layer was added and the Gradient tool solid color to transparent was applied to the new layer. That provided a smooth, uniform transition of color. A Layer Mask was added. Paint, on the mask, with black to reveal the vase and flowers.
If you make a mistake, just switch to the color white. It is totally nondestructive to the image and very forgiving of any mistakes. Flatten the layers. Some resemble wavy strings, others lint from your clothes dryer. Select a brush and determine the diameter of the brush. Start to apply the dabs. A big brush yields a large, soft area of color.
A smaller brush yields a smaller sampling and more detail. Blur — Motion Blur. The angle was set to 90 degrees to simulate the effects of gravity. We returned to the Art History Brush and applied more strokes.
We used a smaller brush at a low opacity, finessing the strokes onto the painting. The same Watercolor Fat Tip Brush was used. This is our painting and we can choose to enhance the painting further. To that end, a new layer was added and colors were selected and painted onto that separate layer. I look for an image that would benefit from a more subdued color saturation rendering.
Opacity plays a big part. I like to let some of the white watercolor paper show around the edges. A real watercolor is often built layer by layer, increasing opacity in specific areas.
The paint often fades out into the white paper. If you choose to work in this vein, remember that the blank white areas will be a big part of your composition. Make them work for you. Simple Two-Layer Watercolor Painting The following technique is very simple and only requires two layers. It relies on the Pattern Stamp tool and expressive brushes. Pick a simple photograph that is free of clutter and a lot of unnecessary detail.
Keep it simple. This photograph lent itself to a watercolor rendition. A loose pale background was a nice way to render the mountainside.
A bit of detail, but not too much, would be a good way to render the sheep. Select the entire image and go to Edit — Define Pattern.
The photo will appear. Name it, creating a pattern source from which we will draw later. Add another layer and Edit — Fill with the color white. Most paintings begin in a loose manner. Color areas are blocked into place.
Our loose, first step used the Pattern Stamp tool grouped with the Clone Stamp tool. It was enlarged to pixels in diameter. A light application of paint was dabbed on the white layer. Again, be sure that the Impressionist box is checked. The next step was performed with a different brush tip, still using the Pattern Stamp Brush. That tool is pulling the color and placement information from the original photograph, because we defined the whole photo as the source pattern.
Again, the keys to this process are a light opacity of the brush and selection of appropriate brushes. Remember to keep it simple. Work lightly. A watercolor has a sense of transparency. That is our goal in achieving a digital watercolor.
This technique is similar to the one used on our earlier seagull. No accent colors or Pattern Texture Adjustment Layer were added to the sheep painting. You can create your own combination of techniques to create a watercolor, always keeping in mind the nature of a true watercolor.
Watercolors are luminously transparent, with a build-up of colors from many layered applications. Details and opacity appear in selected areas of the painting. Try to keep it loose and free. Avoid too much detail. Above all, have fun with your painting techniques. Museums are full of oil paintings that have survived many centuries. The same cannot be said for pastels or watercolors. Traditionally the dry pigments are mixed with oils. The oils can be derived from seeds, as with linseed oil, and are sometimes boiled with tree resins.
The finish of the painting can be high gloss or matte depending on the medium used. Oil paintings can be applied to wooden panels or canvas, stretched on a wooden framework. The support for the painting is prepared in advance of the actual painting process, with a material that seals the surface. Today gesso FIG. Sealing the surface is essential to the longevity of the painting. A very thick application of paint is often called impasto.
Van Gogh was a master of impasto painting. Close examination of his paintings can reveal much about the brushes he used, his color palette, and the quantity of paint on his brush with each application. He used copious amounts of paint on the surface of his paintings.
Oil paintings take a very long time to truly dry, often taking nearly a year. Although canvas surfaces coated with gesso are white in color, many artists will apply a preliminary coating of a thinned-down darker pigment, like raw umber, to establish a middle tone on which to paint. On close examination of these paintings in a museum, you will notice that the darker areas of the painting have a very thin application of paint, sometimes almost transparent.
The lighter areas of the painting tend to have a more substantial amount of color. This thicker application of paint is much more opaque and is sometimes applied with a palette knife or coarse brush.
In our digital versions of oil painting we will run the gamut from thick impasto painting to more delicate versions that use thin applications of colored glazes. We will be able to simulate the texture of canvas and mimic the strokes that a brush makes on a bumpy surface. Our digital oil paintings will be great candidates for printing on inkjet canvas. Impasto Technique Select a photograph that you would like to render as an oil painting with a thick application of paint.
Our example is a small still life of pears. Still lifes continue to be popular.
At the height of their popularity, in seventeenth-century northern Europe, they were symbolic of the fragility of life and sometimes contained an insect such as a fly, bee, or butterfly. The inclusion of an insect or a decaying flower additionally spoke of the temporary nature of all living things. When selecting your base photograph, consider lighting, composition, and color.
Our first task is to make an underpainting, to produce a roughing-in of basic color shapes. We used a high Edge Simplicity and Edge Fidelity. The Glowing Edges Filter will provide a pencil sketch of the outline or contour edges of the still life. Set the Edge Width at 1 or 2.
Now use Image — Adjustments — Invert. Finally, use Image — Adjustments — Desaturate. Set the Blending Mode to Multiply. This Blending Mode makes white disappear, revealing only the sketch outlines. I created a new layer and painted a terra cotta red outline around the major contours of the still life.
Paint with black on the mask, revealing the Cut-Out Filter rendition. This creates our rough-in of the basic color shapes. Paint with white to reveal as much as you like of the underpainting and red line merged layer. Shadow accent colors were added on a new separate transparent layer.
Note that the layer is made opaque in this illustration so we can better view it. It is really on a transparent layer; a checkerboard pattern identifies a transparent layer. A basic color concept is exaggerated with the addition of a new layer.
This new layer is brushed with cool tones in the shadowed areas. The color concept is one of cool colors in the shadow areas and warmer colors in the highlighted areas. There is no limit to what you can add to the painting. I often use several layers, each with a different area containing accent colors. Yet another layer was created for accent colors on the pears.
The pencil Sketch Layer has served its purpose and is no longer needed, so it is deleted. Did I select the right brush for the job? How opaque or transparent do I want the paint? How loose do I want the painting? These are all artistic considerations that are made throughout the process of painting. Once you are happy with the painting, save a copy in case you have need of it later. Then flatten all your layers together.
In this chapter we will cover a couple of impasto techniques, giving the appearance of a raised paint surface that is rich in paint. In this example we will create a new layer and paint on our brush strokes with a low opacity of white, varying the size and angle of the brush.
Try to make the strokes match the contour of the object, like you are massaging the pear with your hands. In this technique all the strokes are applied in one step and raised or embossed all at once.
Use Filter — Stylize — Emboss on the white painted stroke layer. The height was set to 6 pixels. Note that more pixels will result in a higher emboss.
The light creating the emboss shadow was directed at an angle of degrees. The Blending Mode was set on Linear Light for this emboss layer. This particular technique of embossing often resembles a painting with palette knife markings.
Canvas texture. On a real oil painting you will often see the texture of the canvas peeping through in areas where the paint is not as heavy. To simulate this effect, we applied a Pattern Fill.
We chose Canvas from the Artist Surfaces Library. Pattern Fill Layers are covered in Chapter 2. The Pattern Fill comes with a Layer Mask. Stroke with black on the Layer Mask any area that you want to obscure the pattern effect, indicating a thickness of paint. It is not an all-or-nothing technique. You can add as little or as much of the texture that you like. You can also control the opacity of the Pattern Fill.
Bevel and Emboss Layer Style Oil Painting The next digital oil painting technique is similar but employs the use of a layer style to achieve the raised texture look of a thickly painted oil painting. Again, select a photograph that lends itself to paint that will be applied thickly, giving a textural feel. This photo was taken of strawberries on my picnic table after a trip to the pick-your-own fruit stand.
A Gaussian blur was used to downplay the background and the wood grain of the table. Using the duplicate layer go to Filter — Stylize — Glowing Edges. It is easy to turn that bizarre looking Glowing Edges Layer into a sketch effect. It resembles a graphite drawing on white paper. As we discussed earlier, canvas is often treated with a glaze of a light to medium tone of paint. A medium tone allows the artist to quickly roughin highlights and shadows, allowing the middle tone to be just that.
When working on a white canvas, everything but the highlights need to be painted on the rough-in or underpainting to establish a tonal range. For our strawberry basket we will mimic a linen canvas with a light brown glaze. Create a new layer and place it above the Background but below the Sketch Layer. Fill it with whatever color you select. Ours is a beige tone.
Use Edit — Fill — Foreground your selected color. This mode will make the white disappear, and your sketch is now on the canvas.
Duplicate the Background Layer again and put it at the top of the layer stack. The task now is to simplify the areas of color, reducing the graduated tones in an attempt to make a strong underpainting. For this example I liked two different filter effects: Palette Knife and Paint Daubs. I liked the blocky color Digital Painting in Photoshop areas produced with the Palette Knife Filter, but I also liked the way the thin strawberry stems were interpreted by the Paint Daub Filter.
In short, I liked them both. I wanted a little bit of each one. To solve this dilemma I copied the background image another time. Using a mask, I combined the two layers, bringing out the best of both. I then merged down the layer on top, resulting in a layer that had the best of both filters together. To complete the look of canvas, we added a Pattern Fill. We selected the Canvas texture from the Artist Surfaces Library of patterns.
That scale determines how frequently the pattern will repeat. Note that sizing up can cause a loss of edge fidelity, as would be common in any pixel-based enlargement. The next step was to select the appropriate brush for the kind of mark that was desired. Next we opened the Brush panel from Windows — Brush. Painting white on the mask of the Palette Knife and Paint Daubs Layer, we started to rough-in the color of the painting.
Vary the size of the brush. I usually use a larger brush for the background and a progressively smaller brush for more detailed areas. It is so nice to have all those possibilities built into one brush. In the real world of oil painting, I would be constantly selecting and alternating different brushes. That would mean a lot more clean-up time at the end of an oil painting session.
No paint thinner or turpentine for us, as we are doing it all digitally. We will not be smelling toxic fumes or wiping up paint smears on the surrounding table or easel. Hooray for digital! Try varying the angle tilt of the brush and the roundness. Duplicate the Background Layer again and place it at the top of the layer stack with a Hide All Mask.
You can determine the angle of light on the ensuing brushwork, if you like, by altering the angle of the global light. Be sure to check the Use Global Light box. You can select another type of brush, but I stayed with the same one, using more opacity, and began to brush on the impasto paint. Figure illustrates what paint was applied in this layer alone.
By putting this layer above the Pattern Fill Layer the paint appears thicker, more opaque, and glossier. It covers the texture of the roughed-in areas. Be sure to let some of that show through. A new transparent layer was added to include a few accent colors. Painter Albert Bierstadt selectively placed, enhanced, obscured and diminished texture to serve his composition.
The medium and tools of oil painting dictated that they build Texture gradually. Digital painters have the ability to introduce tremendous amounts of Texture in just a click or two… …and our textures can get completely out of control in just a click or two.
When you seek speed over quality, any number of disasters can occur, including a visit from you-know-who. Instead of feeding it, pick up your ancient weapons, take a stand and fight. Weapon 1: Tame The Texture Monster With Atmosphere: By mixing oil paints on a palette, the Hudson River Painters could be sure that the colors would harmonize before they made even a single brush stroke on the canvas. There were no surprises like the kind you get in digital painting — especially when photo textures and texture brushes get involved.
Mixing paint makes it easier to achieve color harmony because the colors can blend together right on the palette — even accidentally. Color harmony can and likely will help to create a sense of atmosphere. The yellow is most prominent in the foreground. Even the shadows carry that same, warm tint. Warm shadows are common in the Hudson River School paintings. A cooler white yet still with a hint of golden yellow envelops the distant background and separates it from the warmer foreground.
Cool hues often submit to warm ones — but not always. The midground has a gradient of color which connects the foreground to the distant background. That gradient is what gives the painting such a great sense of depth. The atmosphere blurs and obscures detail Texture and that effect increases as the density of atmosphere increases. So the farther away a form is, the more it blends in with the color of the atmosphere.
And detail, with few exceptions, is Texture. How will the atmosphere affect each texture? How will I or should I design the atmosphere to enhance or obscure certain textures? In most cases, better rendering will not save them subscribe to my newsletter and find out what will but for those of you who actually are ready to focus on rendering, make sure you understand this.
It is difficult to explain so be sure to ask questions in the comments below if you need clarification. Bear with me. This is the hardest part of this whole post. Although this statement grossly oversimplifies the problem most digital painters have with Textural Scale, the easiest way to spot the problem is to look for oversized textures.
Oversized textures will skew the sense of scale in your painting. Oversized textures will make the world within your painting look like a toy or a stop-motion animated movie.
We often focus on the contour of the forms in our paintings and forget the importance of the textural information within those contours. Take your time. However, both paintings have an epic sense of scale. Now, let me be clear, these two paintings DO have a sense of atmosphere.
Textural Scale. The textures create what is almost an irregular perspective grid over every form. The forms within the forms. Does this texture fit the contour of the form to which I am applying it? Does this make sense?