By Aaron Asadi (Head of Publishing)

The last word consultant to getting the main from your electronic paintings initiatives. the realm of electronic artwork is titanic, with courses comparable to Photoshop and Illustrator dominating the industry, along 3D software program equivalent to Maya, MODO and CINEMA 4D to call a number of. figuring out the place to begin should be demanding, yet having an preliminary notion is part the conflict. The electronic artwork ebook explores a number of components of electronic paintings, demonstrating what you are able to do to take your tasks to the following point. With professional courses on crucial innovations, the publication is packed jam-packed with step by step tutorials so that you can persist with alongside or just take suggestion to your personal paintings.

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A little spontaneity will prove handy, but not as handy as a solid base. 03 SEPARATE THE SKETCH You’ll want to make sure that your bird is on a separate layer without any loose or extra strokes. Check for such artefacts by creating a layer beneath the sketch layer and fill it with a pink colour. This reveals any stray white and grey brush strokes in and around the sketch. If there are any in your image, you will need to erase these. The Digital Art Book 033 Digital painting QUICK TIP BUILD UP GRADUALLY The secret to applying textured brushes successfully is to build up gradual details using consistent strokes.

If the image is working in both angles, then it’s probably balanced. ,% If you increase the Scattering value from the Brush palette, you can rough up the edges of your brush and make it look more realistic. Uniform strokes are the hallmark of digital – real media is more random Balance Now that the image has been flipped, you can check that the composition is still well balanced Character details Take a step back and think about which parts of the characters need some extra work, like the fur and eyes Rendering Start with slightly rendering the form of the characters and tree trunk, keeping the direction of the light in mind When all the base colours are added to the painting and you’re all set, it’s helpful to create a Hue/Saturation adjustment layer.

06 TRY IT OUT IN GREYSCALE It’s time to play around a bit with the values. Block everything in with flat tones just to find some suitable values that will work well with the composition and mood. Paint on a new empty layer that’s created underneath the sketch layer. A nice rule to go by is that if things work well in greyscale, then it will definitely work out in colour as well later on. In general, it’s also nice to have several possibilities to choose from before you start to colour a new piece.

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