balistic
03-25-2003, 09:43 PM
I saved a sequence of in-progress images when I did a recent speed painting. So, uh, here they are:
http://www.bprince.com/EBA1.jpg
fig. 1 - Rough sketch (one or two minutes, tops) is drawn on a layer set to multiply. No attention is paid to neatness or line quality. Colors are blocked in below it once the general pose is there. Initial focus is on getting a strong, interesting silhouette.
http://www.bprince.com/EBA2.jpg
fig. 2 - Primary light vectors and colors are indicated.
http://www.bprince.com/EBA3.jpg
fig. 3 - Sketch layer is removed. Near-black is used to place specific detailing. Image is flipped periodically to keep the eye fresh, and to aid in spotting errors of proportion.
http://www.bprince.com/EBA4.jpg
fig. 4 - A similar detailing pass, but using the color of the off-camera lights.
http://www.bprince.com/EBA5.jpg
fig. 5 - Mostly done, except for levels adjustment and texture wash.
http://www.bprince.com/Catwalk.jpg
final - A photograph of stone is used to give a bit of color variation and textural break-up. It is converted to grayscale and set as an XOR layer at 2 or 3 opacity. Composition is cropped slightly to compensate for drawing her off-balance. Start-to-finish for this was about 70 minutes. Not a great piece, but the goal was to get something out quickly. If I were to do it over again, I would try to make the point where the elbows cross less ambiguous, or perhaps use a different arm posture entirely.
This was done in Corel Photopaint 10, but the process would be largely the same in any paint program. Photoshop isn't able to do oil-like color blending as well as Photopaint and Painter can, so if I were working in that package I would rely more on transparent glazes of color than on working fully-opaque with lots of bleed.
Cheesy picture, but maybe somebody will appreciate seeing it deconstructed.
http://www.bprince.com/EBA1.jpg
fig. 1 - Rough sketch (one or two minutes, tops) is drawn on a layer set to multiply. No attention is paid to neatness or line quality. Colors are blocked in below it once the general pose is there. Initial focus is on getting a strong, interesting silhouette.
http://www.bprince.com/EBA2.jpg
fig. 2 - Primary light vectors and colors are indicated.
http://www.bprince.com/EBA3.jpg
fig. 3 - Sketch layer is removed. Near-black is used to place specific detailing. Image is flipped periodically to keep the eye fresh, and to aid in spotting errors of proportion.
http://www.bprince.com/EBA4.jpg
fig. 4 - A similar detailing pass, but using the color of the off-camera lights.
http://www.bprince.com/EBA5.jpg
fig. 5 - Mostly done, except for levels adjustment and texture wash.
http://www.bprince.com/Catwalk.jpg
final - A photograph of stone is used to give a bit of color variation and textural break-up. It is converted to grayscale and set as an XOR layer at 2 or 3 opacity. Composition is cropped slightly to compensate for drawing her off-balance. Start-to-finish for this was about 70 minutes. Not a great piece, but the goal was to get something out quickly. If I were to do it over again, I would try to make the point where the elbows cross less ambiguous, or perhaps use a different arm posture entirely.
This was done in Corel Photopaint 10, but the process would be largely the same in any paint program. Photoshop isn't able to do oil-like color blending as well as Photopaint and Painter can, so if I were working in that package I would rely more on transparent glazes of color than on working fully-opaque with lots of bleed.
Cheesy picture, but maybe somebody will appreciate seeing it deconstructed.