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Digital Painting: Street Scene

Understanding the traditional paint color swatch set


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Digital Painting: Street Scene

with John Derry

Video: Understanding the traditional paint color swatch set

Besides filtering a photograph with color from a painted source, another technique, especially in the final stages of an interpreted photograph, is to apply additional non-photograph-based color to the painting. To add authenticity to our strokes, we'll utilize colors associated with the traditional artist's palette. Now, the way I'm going to do this is a little bit of juggling between a couple of different mediums. What I've got here is a full range of colors available from a commercial manufacturer of paint, and it's very easy to find these, especially if you go to web-based art stores. You'll find this kind of open stock where they show you all the colors in a particular color range for say an oil set, or acrylics, or whatever kind of medium you want.
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  1. 8m 50s
    1. Welcome
      1m 11s
    2. Using the exercise files
      39s
    3. Installing custom brushes
      7m 0s
  2. 22m 3s
    1. Understanding the visual vocabulary
      4m 46s
    2. Using the vocabulary of photography
      6m 41s
    3. Using the vocabulary of painting
      7m 1s
    4. Looking at reality through a mental painting filter
      3m 35s
  3. 10m 22s
    1. Understanding that resolution is in the brush strokes
      3m 6s
    2. Understanding the subject
      7m 16s
  4. 16m 1s
    1. Removing lens distortions
      2m 33s
    2. Using the Free Transform tool
      4m 42s
    3. Using the Lens Correction filter
      4m 36s
    4. Understanding the ACR lens correction profiles
      4m 10s
  5. 12m 23s
    1. Working with Vibrance
      3m 14s
    2. Using the Match Color command
      2m 59s
    3. Understanding the traditional paint color swatch set
      6m 10s
  6. 16m 6s
    1. The eye has a bettor sensor than a camera
      3m 16s
    2. Using the Shadow/Highlight filter
      3m 17s
    3. Using the HDR Toning filter
      5m 23s
    4. Understanding how RAW files provide malleability
      4m 10s
  7. 14m 42s
    1. Working with the Reduce Noise filter
      2m 50s
    2. Working with the Surface Blur filter
      3m 6s
    3. Using Smart Blur for simplification
      2m 51s
    4. Working with the Topaz Simplify plug-in
      5m 55s
  8. 31m 10s
    1. NDLP: A creative safety net
      5m 1s
    2. Using custom actions
      9m 41s
    3. Using the reference layer
      5m 29s
    4. Cloning layers
      6m 5s
    5. Working with the Hue/Saturation adjustment layer
      4m 54s
  9. 17m 28s
    1. Brush categorization
      10m 1s
    2. Working with canvas texture
      3m 41s
    3. Using Sample All Layers
      3m 46s
  10. 12m 48s
    1. Being willing to destroy detail
      7m 21s
    2. Establishing the painting style
      5m 27s
  11. 25m 1s
    1. Simplified indication
      9m 3s
    2. Understanding color
      4m 10s
    3. Introducing texture
      11m 48s
  12. 17m 36s
    1. Providing rest areas for the eye
      6m 55s
    2. Focusing on the subject through detail
      10m 41s
  13. 24m 20s
    1. Being willing to depart from the original
      6m 48s
    2. Creating detail to enhance the artwork
      8m 36s
    3. Creating physical surface texture effects
      8m 56s
  14. 10m 33s
    1. Waiting a day
      4m 14s
    2. Examining your importance hierarchy
      6m 19s
  15. 57s
    1. Goodbye
      57s

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Digital Painting: Street Scene
4h 0m Intermediate Aug 12, 2011

Viewers: in countries Watching now:

Learn to think like a painter and render images from photographs that look like they were created with oils or acrylics, using the latest digital artist's tools. Author and artist John Derry introduces the process of interpreting a photograph into a painted work of art. He begins by explaining his system of visual vocabularies, which describe how to replace the elements of an image with expressive painterly qualities, and also shares the custom brush sets and actions he uses to achieve these results in Photoshop. The course also covers working with filters, layers, effects, and more to add further detail and texture.

Topics include:
  • Understanding that resolution is in the brush strokes
  • Understanding the subject
  • Removing lens distortions
  • Using the traditional paint color swatch set
  • Making shadow and highlight adjustments
  • Simplifying details with filters and Smart Blur
  • Cloning layers
  • Using custom actions
  • Working with canvas texture
  • Creating physical surface texture effects
Subjects:
Design Digital Painting
Software:
Photoshop
Author:
John Derry

Understanding the traditional paint color swatch set

Besides filtering a photograph with color from a painted source, another technique, especially in the final stages of an interpreted photograph, is to apply additional non-photograph-based color to the painting. To add authenticity to our strokes, we'll utilize colors associated with the traditional artist's palette. Now, the way I'm going to do this is a little bit of juggling between a couple of different mediums. What I've got here is a full range of colors available from a commercial manufacturer of paint, and it's very easy to find these, especially if you go to web-based art stores. You'll find this kind of open stock where they show you all the colors in a particular color range for say an oil set, or acrylics, or whatever kind of medium you want.

It's just a way for you to preview how the colors look. Let's just jump over to a web page, and this just shows you basically what you have here is you've got all of these listings, and you'll notice this won't always happen. It depends on the way they're organized. They just happen to break this up into two different-sized tubes of paint, so it appears twice. But assuming you keep track of that, as you do what I'm going to show you here in a little bit, these duplications, if they appear at all, are not an issue.

Now, let's go back, and we have to start from the point of view of our color swatches. This is the default color set that you find in Photoshop. What we want to do is we want to go in here and delete these individual swatches, so we basically end up with an empty swatch set. If I hold down the Option key on Mac or the Alt key on Windows, you'll see how it shows a little pair of scissors. Well, that lets me click, and that deletes that particular swatch.

So what I have to do is sit here and just click this many times. In fact I've done this enough times, I can tell you that you ma, after you empty this all out, save this as an empty swatch set, so you've now got a swatch set where you don't have to go through this several hundred clicks to eliminate all of your swatches. So we're almost done here, and there we have now an empty swatch set. So we've eliminated all of the swatches from here, and as I said, one thing that's nice to do is in order to avoid having to eliminate hundreds of swatches from a set, you may want to save a swatch set.

The trick is, you can't save an empty swatch set, so I'm just going to put one swatch in here with just anything and in doing so, I can go in here and now I can save these swatches. And I would just save it as empty swatch set. That way, if you're going to do this more than once, you'll have a very good beginning point without having to do a lot of editing. But I do want to get rid of this now, so I'm going to go ahead and get rid of the last one, and now I've got all of the swatches. And the way I did this, I just used a screen-capture utility to go in when I was in my web page and just capture, row by row of these, and then copy and paste them over into Photoshop.

So now we're to the point where we're going to start adding our colors to the swatch set. I'm going to go ahead and double-click this, so I'm up to 100%. Let's move this over here. You can see I've got these duplications, but what I want to do is switch to my eyedropper. I'm going to select this color, and now when I go over here, I can do New Swatch. Now, you can see, I can put a name in here, and what I want is this name, but this is just a flat graphic, so there is no way for me to retrieve that.

However, if I jump over to our browser and go up here to the top, I can copy that text. So I've now copied it. I'm going to go back to Photoshop, and I'm going to paste that name in there and say OK. So I've now added that color to my swatch set, and it has the traditional name associated with it. Now, you're probably asking, are you telling me I have to go through and do this for all of these colors? Well, I did it, and yes, that's how you have to do this.

This is somewhat of a manual process. If you want to create a custom swatch set that has an organized set of colors that you've acquired from something like an online location where these colors are organized like this, yes, you will have to go through with it. However, I have given you this swatch set, as you may remember earlier from the installation. If I go down here and load this up--we don't want to save-- there are our colors. So I've now got all of these oil-based paint colors loaded in here. And you can look at them a couple of different ways, like here is our Alizarin Crimson, but I can also view this, if I want to, as a List.

So this also gives me a different way, if I'm more used to looking in terms of names, I can do it this way as well. But this gives you a couple of different ways to organize the color once you get it. The real benefit of having this set of colors is that the color difference relationships between all these are maintained as they would be in the traditional tube-based colors, and that then gives you a nice source of colors that very much-- if I take Permanent Light Green, and use Cerulean Blue, the difference between those two is going to be the same digitally as it was in the traditional colors.

Therefore, painting with these two colors in an image will give me the brighter pigment-based colors that once again move me away from the language of photography. We're not going to use these extensively. You'll see in a later chapter how I take advantage of these colors and use them in a very limited basis, just to add a few bright strokes throughout the painting that once again imbue that image with a greater sense of a traditional painting, as opposed to a photographic- based source, and that's the goal of this entire course is to make that translation.

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