您需要 登录 才可以下载或查看，没有账号？注册
x
本帖最后由 胖纸_DHW 于 2021-1-7 11:58 编辑
In my artwork, I generally try to express a feeling, to tell a story... Seheiah is a bit different. I had been asked to illustrate August for a publishing firm. So I based my artwork on the idea of a kind of goddess in an antic style. I wanted it to depict a quite "fresh and radiant" feeling, a reminder of a summer morning. Thus I decided to include a wood with a lake above which my goddess would fly. Step 1 Concept SketchBefore I start with the composition, I choose the colours (background and characters) harmoniously. In this example I wanted the character to be very radiant, nearly unreal. Thus I chose a turquoise bluish-white and then chose a pastel pink for the basis of the wood and turquoise green for water to add some contrast and the idea of warmth to the composition. Furthermore, I work on a very wide format so that I can work on details. Here, the original format is 7,250 x 12,000 pixels in 300dpi.
I lay and blend the colours on another layer so that I can always remember them. Here I don't pay to much attention to detail, with regards to the entire composition but rather to the overall atmosphere.
Tool: at this step, I use a hard round edge brush with opacity set to pen pressure.
Step 2 Colouring ProcessWhen I have laid down the colours, I refine the whole composition, I add shadows and lights. As it's a summer morning, the light is rather diffuse, the shadows will be thus, rather light and overall it will be very radiant, especially the character.
I also add all the details of the wood, the wave and the hairstyle of the character (which is the most colourful element of the composition).
Tool: in order to blend the colours, I use the speckled brush on a inconsistent basis. The richer the colour is, the more credible the depiction is. I never use soft edges as I think they don't give any dynamism or life to the colour. Step 3 Details & TexturingNow is the greatest step of the composition: the texture. Basically, texture means life. Thus I give a texture to each part of the composition using various techniques depending on the element. Details are also very important, above all for the crown. Evolution of the leafage: I use a custom brush to simulate leaves. There's no need to draw them one by one! I create many layers and superimpose the shades and forms along, until I am satisfied with the result. This is the same technique for the water and the wave: I superimpose texture layers to obtain a "splash" effect. I use the same technique for the sky: texture layer on texture layer. I generally use my own texture brushes. I use several brushes in order not to have a result that is too recurrent. As long as the wood is concerned and especially the tree-trunks, I also use a superimposition of layers, many textures and shades. 尊敬的 游客，如果您要查看本帖关注 或 回复可见内容请 关注或 回复后刷新页面查看！
| 
