Just some thoughts on smooth blending,

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Old 06 June 2005   #31
Indeed, what's the point of your post nebezial?
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Old 06 June 2005   #32
im sorry i usualy share all my stuff, i made tuts myself but this i just discovered, i need to work it out a lil, it is sort of a trick in the making, patience, i will make a tut

 
Old 06 June 2005   #33
the point is to make people look for options in the frickin program!!!
 
Old 06 June 2005   #34
Talking

aaah..this looks troublesome, neb.. what cha gonna do? reveal the secret to us yet?
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Old 06 June 2005   #35
e tu brutus i said ill make a tut and i will.. u should know that im no good at keepin secrets, i just want to see will anyone figure it out, u know me, anyways this is enaylas thread so i wont be spammin it anymore, im sorry Enayla. so get back on the subject people, ill edit out the pic i posted
 
Old 06 June 2005   #36
Thumbs up

Linda, Ive said it once and Ill say it time after time, your the best! Always an insperation!

Thanks for the Tut! I've been guilty of using only a Hightlight and a shadow tone, well now I know, thanks agian!
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Old 06 June 2005   #37
lol, i've been doing it wrong all along! i love it! thanks for sharing this. i never thought to use a speckled brush for blending. i only use those for hair. now i know, AND KNOWING IS HALF TE BATTLE!!! thank you Linda!
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Old 06 June 2005   #38
In the d'artiste book, I have a tutorial that deals with blending and rendering brushstrokes.

If anyone's interested, I could do a Painter blending/rendering comparison to accompany what Linda has done with her Photoshop one.
 
Old 06 June 2005   #39
Originally Posted by Lunatique: In the d'artiste book, I have a tutorial that deals with blending and rendering brushstrokes.

If anyone's interested, I could do a Painter blending/rendering comparison to accompany what Linda has done with her Photoshop one.


Yes please Robert That would be greatly appreciated.


If any of you use painter, please visit Robert's site for his custom brushes. They are just awesome.
http://www.ethereality.info/
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Old 06 June 2005   #40
Healing brush

Awesome thread. I really like the techniques you posted, Enalya. I made a real fast tutorial for the healing brush method of blending that someone mentioned earlier in the thread, in case anyone was wondering how to do it. I learned this at a tutorial hosted by Don Seegmiller. I'm going to plug his books, since it's his technique: Don Seegmiller's Books



I'm a newbie painter, so I can't really demonstrate how to use this technique effectively, but perhaps someone who is skilled can post their results to show how effective it is.
 
Old 06 June 2005   #41
The nice thing about the healing tool is that it's orders of magnitude more responsive than the smudge tool. In addition, you can define a nice background pattern that will be incorporated into the blending automagically. It does take a bit of practise to get used to this method, but it can net some nice results. I'll see if I can post up a quickie tutorial in the morning. For now, it's time to hit the sack.
 
Old 06 June 2005   #42
Originally Posted by LoTekK: In addition, you can define a nice background pattern that will be incorporated into the blending automagically.


Automagically... I don't know whether that was a typo, or on purpose. But, either way, I like it
 
Old 06 June 2005   #43
Ela -- I must admit to not being entirely sure what it is that you're asking for. In the first two examples, yes, all I'm doing is using the colours I've picked out and the brushes I've chosen. No smudge at all. You really don't need the smudge at all given opportunities. One of the reasons to why I prefer the spackled brush is that if you brush it in a clean line, the side of it will produce a nice, semi-sharp edge that looks very natural in shading.

I sometimes combine the smudge with the others but it's not necessary. It's just for when I desire one effect or the other. The risk with the smudge is that it's all too easy to ruin sharp or pronounced edges with it. The other methods are just a way of using the pressure sensitivity of the wacom pen to accomplish nice effects. You pick the colours from the palette at first and then increasingly from your own piece as the variations increase, and use less and less pressure (in other words, draw more and more lightly) as you progress. LoTekk gave a wonderful example two posts below yours

Jan-Mark -- I really don't know how to explain the work flow. I basically lay out the block-colours with sharp edges, or semi-sharp edges anyway, hard pressure and sloppy layering until it feels 'right'. Until I have the colours where I want them. Better to have all the colours in the right positions before trying to go into smoothing them out. A lot of people make the mistake of starting with the actual blending, I think. They'll not even have all the colours laid out and they'll start with the actual smooth-painting, trying to get the transitions to look right. A little like sewing the buttons on a dress and adding lace, before you've even finished cutting the pattern out.

The details you need to add pretty early on are really just the edges. In a face, for instance, the edges of the nose would stand out. On clothes, you will want to get the folds down before you start blending.

Queensoul -- I might have included it in my http://www.furiae.com/images/linda.abr that I've been sharing around for a while. Otherwise, just set the brush yourself in photoshop. I'll explain how to do it if you need the help.

Fabianv -- LoTekK gave a very nice response to this one. I'll add that you've made the basic mistake of assuming skin to be a little bit too simple in its colour lay-out. The shadow tone is just too close to the basic skin tone in colour. The highlights seem to be a slightly more desaturated version of the midtones. That's why picking the colours is SO important a thing to do before the rest is approached. The first thing you might try out is to go into the Color Balance setting... add some magenta to the shadows, some red to the midtones and cyan to the highlights. That spices it up a bit Then pick two accents to make the colours vibrate (like I used that purple and the terracotta). The blending is excellent, it's the colour choices that makes it seem a little washed out.


Oh, and -- the healing brush method looks, indeed, quite awesome. I'm not too sure I'd get comfortable with it, though. I like the smudge because I can so easily use it with any brush I like - and I have (or had, before the crash anyway, now I'm down to the bare basics of my brushes) several brushes I've created for the sole purpose of using with the smudge.

I'll try it out and see if I can't combine it with the methods I'm already using -- tons of thanks for pointing me in the direction.

(oh, and Rob: would LOVE to see that. I'll probably get into Painter more, myself, soon... would love to get tips like that.)
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Old 06 June 2005   #44
Originally Posted by Enayla: (oh, and Rob: would LOVE to see that. I'll probably get into Painter more, myself, soon... would love to get tips like that.)


You definitely should. Painter changed the way I feel about digital painting. If you get stuck anytime, feel free to ask--especially that we have Jinny Brown in the Painter Forum, as she's incredibly knowledgeable about Painter, and is a very generous and kind soul.

Ok, I did a quick demo of what I love about Painter's brush engine. It is fundamentally different from Photoshop because it was designed for one thing only, and that is to draw and paint, whereas Photoshop was designed for image editing for photographers. I use both and can't live without either. I use Painter for painting, and Photoshop for editing and rough drafts. Of course, I could paint with only Photoshop, but I won't enjoy it as much.

Ok, this image is going to be big (1600x1200--the size of my desktop). I didn't want to resize it because I wanted you guys to be able to see the brushstrokes clearly, in its original resolution. I did compress the jpeg at 80% though.

http://www.ethereality.info/etherea...ter-brushes.jpg


First of all, you'll notice that Painter really tries to capture the dynamics and subtleties of traditional art tools. The biggest difference (and the one that made me fall in love with it) is that there is wet-on-wet painting, which does not exist in Photoshop. Photoshop's brushes are essentially like different shaped stamps--with some dynamic control of how the stamps are applied. The problem with that is there's always that stamped shape you can't get rid of, unless you try to cover your tracks. Painter brushes are highly dynamic, and as you tilt your tablet pen, certain brushes will respond accordingly (for example, the palette knife will turn on it's sharp knife edge if you tilt the tablet pen). The wet-on-wet really makes it a joy to paint in Painter, because you no longer have to "mimic" brushstrokes in Photoshop, or blend them afterwards. In Painter, your brushstrokes will blend automatically with the colors already on the canvas, just like real paint. Also due to the dynamic brush engine. you can have effects that you cannot get in Photoshop (for example, look at the Coarse Oily Blender, Artist's Oils, Asian Brushes, Watercolor, Felt Pens, Palette Knife..etc). BTW, the only custom brush in that picture is the "Rob's Cover Pencil," which is a brush I designed to mimic real pencils. I don't like the ones that comes with Painter.

Some people might think all that random scribbling I did might not seem practical for actual finished paintings, so I included some examples of what Painter does for me in my paintings.

These are some close-ups of some of my paintings. I'm only showing cropped close-ups to demonstrate what Painter could do--you can see the entire paintings at my website.







You can see how I used the bristled brushes to achieve the fur on the wolf, the frilly lining on the girl's dress, and the strands of hair. Those are single brushstrokes, and since the bristles are dynamic, I can tilt and paint in such a way that feels very different from Photoshop. The wet-on-wet means I really don't need to go back in with any kind of blending or smudging--it's done in the actual brushtrokes already.







And because Painter's brushes can do wet-on-wet, the brushstrokes can have that painterly quality to them, because as you lay down each stroke, it actually interacts with the colors already on the canvas by blending and smudging with them dynamically. You can also control how much blending you want in your brushes, or how much paint it should actually carry.





Some of you know that the Palette Knife brush is one of my favorites. You can do drastically different things with it. The first one, although is quite smooth, is pretty much all done with the palette knife. The second one, you can see that the pattern on the dress is all palette knife.



I love the wet-on-wet quality of Painter's brushes. In Photoshop, you have to paint in a similar was as you would with gouache, but in Painter, you can have a lot more freedom in how you want to paint.

So, anyway, that's my contibution to this thread.

Last edited by Lunatique : 06 June 2005 at 09:39 AM.
 
Old 06 June 2005   #45
Incredible work Lunatique, just incredible !!
 
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