Artist > Works In Progress-art process

Bug...pencil to render

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lemorris:
Someone asked to see the steps here. 

This one is only a little different in the sense that I'm doing a little tighter work on the pencil end and then I'll add some color and other stuff in PS down the line.

This will ultimately be a wedding invitation and it's not due for a month so there's no hurry here.  I'll do 15 or 30 minutes a day until it gets there.

The method is pretty basic.  Sketch it out and then color it.

With the more tighter pencil I do have some shirt plans but you'll have to wait on those.  This is about the art part.

anyway


Base sketches:  I just used my trusty zebra 5mm and some old stationary from my moms real estate office.  I actually did have a rough before this one but I thought it'd be better to start here.

I did scan in my rough sketch and made it blueline in PS, then printed it out.  Then I penciled right over the top of that for rough sketch 2.  I tried to transfer it to a clean sheet, but all the character flew out the window, and I have an animator friend that does that pencil over blueline, and it worked well for me.





Pencil stuff:  Pretty basic.  Left to right, tryin to keep it clean.  I picked up some books by a guy named Hillenberry I think.  He has a pretty cool method.  The pencil part is just partially pencil.  I'm using charcoal and carbon so I can get those rich blacks (funny for me to say) and the depth in the drawing, without the graphite glare.  I'm finding that it also scans very very well.  I'm using a Generals HB hard, and a Generals 2B charcoal.  The only graphite I've been using really is a F.  I'm not blending the 2 mediums into each other much either...they don't mix right...not for me yet anyway...it's my first time so...anyway I like the overall results.  I tacked it to my wall beside this pickup I had done recently in pencil and there really isn't much comparison.  I know you can darker your pencil after you scan it and all that, but like I said...I have plans for these and this seems to be giving me somethin more.








Color test:  I scanned my step and made it a multiply layer and threw some color under it.  Once I get to the render it will be much richer than this.  I just blocked in some color to see it.  I'm usin a hard brush at 100 and 100 in PS for the base.  I paint "through" areas and then erase the excess outside the lines.  I'm using temp layers to paint the blocks, erase it back then merge it down.  I am also using group masks more than paths these days.  I like how they work in my flow. 



and it's kinda here....I will do an update in a few days.  I tend to have more posts on my FB art page so the steps will probably land there before here, but I'll explain here if folks are interested.

Command-Z:
Nice work! I really dig the pencil look.

Now you're working in a method similar to what I do as far as coloring. I paint a grayscale rendering, only the color layer is on top of the grayscale and the Blending Mode is set to "overlay." 50% gray yields full color, and lights and darks retain their values.

lemorris:
You know...I saw a guy on a cg site doin somethin like that.  He did these mechanical toasters or somethin fighting it was awesome.

You do a lot of brushwork.

Lately I have been setting my brush to a hard edge brush with opacity at 100 but I keep my flow pretty low...like 10.

I'll do the same thing when I use a soft edge brush and it helps me push color around a bit more.  I'm still pretty crude though.

Do you use any group masks or clipping masks, or just channel masks?

Denis Kolar:
What happened to the second fog light? 2 right hand mirrors?
I do not want to be picky, but I would hate for you to get to the end and then realize it :) (If that is not intentionally like that)

Looks great, BTW

Command-Z:
Yeah, I'm trying to get more out of fewer brush strokes lately, to give a more painterly look. Still mostly using the soft-edged airbrush though for body work, but those hard-edged brushes set to Shape Dynamics get more play nowadays than the old "frisket" method of airbrushing against a hard-edged selection. Especially in the chrome bits.

I use layer masks mostly to fade blurring effects and stuff like that. I try to avoid it for t-shirt work, since when I flatten for sepping, it can make things funky. Maybe I just don't know how to do it right.

Never used a group mask... I use about 10% of Photoshop actually. Up from 5%. Like you, always learning... I went to a Bert Monroy Photoshop seminar once (he's one of the first to use PS for illustration and his books are where I learned most of my basics) and he told us that the people who make PS don't really know all it's capable of. It's the users who tell the programmers what it can do, since most tools have a different purpose when they're invented, than what thy're actually used for. Pretty cool dude.

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