Digital Art Composition In Photoshop

Digital Art Composition In Photoshop – Things to consider when painting in Photoshop layers, exposure, lighting, shadows, surfaces, materials, reflections, composition and color temperature

There are many things to consider before having a stroke. Well, you don’t actually have to think about it, it should happen automatically.

Digital Art Composition In Photoshop

This applies mainly to realistic styles. Also, your brush strokes should be effective and consistent with the rest of the painting and the color scheme you’ve chosen. You may have an idea or style that rejects certain colors or textures in favor of others. However, the Powerpuff Girls illustrations also have simple elements of photorealistic rendering. Don’t be put off by “I won’t study because it’s not my style.”

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Actually, there is only one kind of light. jumps We can only see when light (photons) enters our eyes. When light hits a surface, it does two important things. First, some of it is absorbed. This is how colors are created. A red apple reflects most of the red wavelengths and the rest is absorbed and converted to heat, etc. Dark matter therefore heats up in the sun. However, reflected light is reflected differently depending on the surface. If the surface is uneven, it will bounce randomly, like a tennis ball hitting rocky terrain. If the surface is smooth, it bounces in a predictable way. Mirrors are so smooth that light bounces back without distortion, allowing us to see our reflection.

All surfaces have reflected light. That’s because reflected light is just reflected light. On matte surfaces it is more fragile or thinner.

Depending on the position of the eye/viewer, different light and different reflection points can be seen on this type of curved surface. Since the puddles are not curved (except at the edges due to surface tension), you may only get bright reflections from some scenes. Point bounce can only occur in an environment with a point light source such as the sun, a light bulb, or a small window.

Photo – The fabric has fine and subtle shimmers. I pulled the shirt sleeve with two fingers (I moved the camera, not the sleeve) to get a flat surface between the two marked points.

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Here on Earth, there are many materials around us that can reflect light. So the objects here get some light from all angles. For example, there is a sky with a dome-shaped blue light source. Then there is the ground, walls and other surfaces. Essentially, there is only one source of light in the universe: the sun. That’s why the moon only has a bright side and a shadow side and looks kind of flat. However, if you look closely, you can see the Earth’s light from the side of the Moon’s shadow, but it is very faint. And then there’s Starlight, which I think is pretty weak.

When light hits a surface and reflects off it, the color changes. When your reflection hits another surface of the same color, that surface appears more saturated.

Sunlight is much stronger than skylights, which in turn are much stronger than interior light. Our eyes adapt automatically over time and can do so simply by concentrating or focusing on an object. We do this without thinking, so it’s hard to understand that our eyes are actually limited. These limitations become more apparent with cameras. If you are shooting indoors, the windows will be overexposed (bright). You can try adjusting the exposure level for the window lights, but your indoor environment will be underexposed. This can be used to your advantage. For example, placing a character or object in a dark foreground area can make their silhouette legible in a brightly lit room.

When exposed to light, parts of your body may appear too light or dark, or your skin color may not appear at all. If the shadows are dark and the highlights are overexposed, the place for color is the middle edges.

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Shadows are relatively flat and generally less saturated than highlights. It’s easier to see ambient light in the shadows. The phenomenon of shadows blurring with increasing distance is known as diffraction.

Think about the environment. Outdoor light is stronger and skin tones are less saturated due to sky-blue ambient light and sky-blue reflections. Sometimes the mixture of sky blue makes the skin color purple. This is especially true if the subject is standing in the shade.

Indoors (no windows, just light bulbs) the light is warmer and skin saturation leans towards orange and red.

The shade color on your skin can sometimes be green. This is especially true if the room has green components such as wallpaper, plants and furniture.

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In a white room or bathroom, there is less contrast (shadow/light) because the skin tones are too pale, close to the local color and too dark.

…so the environment your character is placed in has a huge impact on how the character is portrayed.

The human body has different colors. Areas covered with clothing are less likely to blacken. The pubis, femurs and pectoral region are rather pale. The shoulders and lower arms will have a slightly browner color. However, the inside of the index finger is often pale. The skin on my knees and elbows is a little darker. The face has various colors, such as pink cheeks, and males can have brown or almost green chins due to their whiskers. The best way to learn the colors of the human body is, of course, to study. Remember that animals, monsters and objects also have color. If you paint everything with the same color and saturation, it will look boring.

Some colors are caused by ambient and reflected light. Shoulders and surfaces that point up will be blue because they reflect the sky.

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Saturated Gradient – A shade-to-light gradient that is not the color between the shadow color and the light color. If you only mix shadows and light, it looks very lifeless. If you look at the picture, you can see that the gradient is saturated. It’s easy to spot, especially if you remove the saturation.

Subsurface scattering – intense light can penetrate the surface of some material, bounce around, and then exit. This increases saturation and makes the surface appear lit from within. In human skin, it sometimes appears in the sharp boundaries between light and shadow.

Photo – The upper part of the leaf is glossy, which means that there can sometimes be a slight blue reflection here. The light passing through the leaves makes the bottom more saturated. This also applies to your ears and fingers, which can be very red when backlit.

Photo – Subsurface exfoliation of the fingertip. The light to the left of the thumb is probably light reflected from the index finger.

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Photos – edges appear only when the light is overexposed. Not visible with fingers.

Color and price are relative. Various tricks can be used to trick the viewer into thinking that the color is actually a different color or that the value is darker than it actually is. Unfortunately, writers can be tricked into using more colors or values ​​than necessary.

A hard edge between two values ​​is more pronounced than a soft edge. It’s important to know which ones to use and when. Sometimes the choice of values ​​is very limited, for example when working with shadows. Hard edges allow you to describe more details at a lower cost. However, using gradients is very useful for changing values ​​without the viewer noticing. “Fake flat” drawings look flat but are actually gradients. The square is the same color as the left side of the rectangle.

Instead, colors of equal value are relative in hue. A common mistake is to oversaturate one detail and then make other nearby parts look gray. To compensate for this, we also increase the saturation of these details, resulting in a more saturated image overall.

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It’s easy to get excited and overdo the highlights. This makes it difficult to tell which color the object is. Instead, you should use drop shadows to render the volume of your object.

Work with larger brushes and remove unnecessary brush strokes. Check out the bad and good examples below. I didn’t really do much with the second one. It’s actually simplified. It’s amazing how much a little level here and there can do. Spent some time on the face. A bad face can ruin everything. Image is for reference.

A picture is a hierarchy of important and less important details. When it comes to pin-ups, the main characters and silhouettes are the most important. The ones in the cartoon