Artist > Works In Progress-art process
Buick
Chadwick:
Yeah, you suck.
Yeah right, just like my fineliners, haha.
:D
Saw this elsewhere, it still rocks.
I like the direction you're taking, kinda curious how it's translating in the sep process.
Texture and all that.
Cheers.
Dottonedan:
Texture would be hard (on his art here especially). What you need to do on that as a separator is accentuate/exaggerate or enhance the texture more than it actually is. Then, another key factor is know the colors used for that texture and how they are playing/knocking of each other.
For example, you can have very hard stark texturing in a color. If it's a very light color, like a beige or yellow, that won't show up having as much impact on the print results as you would think and see in the channel. so, you then need to (enhance) even more, by copying that texture to a new channel and adding it (filling the selection) onto another darker channel in the shadow tones) where you can PUNCH the texture out more. Once you've done that, you also need to consider where that color is in the print sequence. Texture is more clean and crisp if on a screen that is late in the sequence. If it must be earlier, you then need to help it to not get filled in by being stepped on too many times...by knocking it out of a few layers (just a little).
This is slightly frustrating to the original artist if they don't follow what you are doing with it but often times, it's the only way to get that texture on the art to come out in the print results. Once printed, more often than not, it does not look as stark and contrasty as in the photoshop file and the artist is pleased enough.
Class dismissed.
lemorris:
This one is more for a print.
For a shirt I would drop the texture in the art and let the shirt carry that. I wouldn't want the hassle in sepping and I wouldn't want to place that headache on a printer. been down that road. It will still fly on a shirt without it
Thanks for the insight though. Its definitely somethin to think about.
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