Digital Matte Painting Essentials 3: Tone
Illustration by John Hersey

Using walls with mask-holding layers


From:

Digital Matte Painting Essentials 3: Tone

with David Mattingly

Video: Using walls with mask-holding layers

Now we have the selections for towers and domes saved in mask holding layer. But we need a few more for each of the layers of walls. This will allow us to totally separate the walls from each other. So let's start with the lower wall and marquee around it not worrying about the cronolations. You should add the front of the bridge to the selection and this flame holder on the right.

Start your free trial now, and begin learning software, business and creative skills—anytime, anywhere—with video instruction from recognized industry experts.

Start Your Free Trial Now
please wait ...
Watch the Online Video Course Digital Matte Painting Essentials 3: Tone
1h 18m Beginner Sep 19, 2013

Viewers: in countries Watching now:

After you've perfected your perspective drawing, the next step in the matte painting process is to layer in tone: the master tool in the matte artist's arsenal for establishing a fully formed structure. David Mattingly, a matte artist for many groundbreaking motion pictures, takes a black-and-white drawing and shows how to use the five elements of light—dark sides, light sides, cores, cast shadows, and final darks— to paint the surfaces and create a realistically shaded environment in Adobe Photoshop.

This course is part 3 in David's Digital Matte Painting Essentials series. Go back to part 2 to recreate the castle drawing he uses in this course, or if you simply want to learn more about form, you can use the example provided in the exercise files.

Topics include:
  • Selecting the silhouette
  • Find the dark sides and light sides in the drawing
  • Using mask-holding layers
  • Examining the light and dark sides of rounded surfaces
  • Looking at the cores
  • Adding cast shadows
  • Separating surfaces with final darks
  • Adding ambient occlusion
Subjects:
3D + Animation Design
Software:
Photoshop
Author:
David Mattingly

Using walls with mask-holding layers

Now we have the selections for towers and domes saved in mask holding layer. But we need a few more for each of the layers of walls. This will allow us to totally separate the walls from each other. So let's start with the lower wall and marquee around it not worrying about the cronolations. You should add the front of the bridge to the selection and this flame holder on the right.

Cmd+Option+Shift+Ctrl+Alt+Shift in the layer thumbnail preview to intersect the selection with the silhouette. Then, Cmd+Option+click or Ctrl+Alt+Click in the layer thumbnail preview for the dome and side tower layer to subtract them from the selection. Make a new layer and call it lower wall. Pick another primary color, this time a bright blue and fill the selection.

That's great, but we don't have any of the crenelations in this selection. You can go through and hand-select the crenelations, but if you think back to when we were doing the perspective drawing, we created something called cutting masks to trim the back sides of the crenelations. If you have access to the project files, open up the PerspectiveFinish.psd file, and then scroll down to find that layer. If you Cmd or Ctrl+Click into the layer thumbnail preview, you'll see that it contains a selection with just the crenellations.

You can use this layer on your own project to select your crenelations if you prepared it properly. So let's copy it out of the perspective file. And then Cmd or Ctrl+Shift to paste it into our current file. As long as your source and destination files are the same size, Cmd or Ctrl+Shift pasting puts it in exactly the same place in the destination file. As the one you copied it out of. Name this layer Crenellations Forms, so you know what it is, and then Cmd or Ctrl+Click in the layer, to load the selection.

Then, hold down the Option or Alt keys to deselect the crenellations you don't need, and fill the selection with a blue color. If you didn't prepare the cutting mass layer, you'll have to hand-select the crenelations. But it shouldn't be too bad. Let's do the next layer up. Select around the wall but go around the arm that sticks out to the side tower. You can once again not worry about the crenelations at the top or bottom of the wall, except at the front, where the cutting mask layer didn't get any of them.

Then go through and clean up the selection. Subtract the lower wall. Intersect with the silhouette, subtract the dome and side tower, make a new layer, and call it middle wall. And this time, fill it full of an ultramarine blue. Then, load in the selection from the crenelations forms layer or hand select those top crenulations if you don't have it. Get rid of the bits you don't need by intersecting and subtracting from the selection, fill them in with that same blue, and you're done with the middle layer.

Now we need to create a selection for the top wall, so go ahead and select around that. We need to go through the same drill. Intersect with the silhouette. Subtract domes and side towers, towers two in detail, middle wall. Make a new layer, and call it Top Wall. And this time, let's fill the layer full of purple.

Load the crenelations forms layer and intersect only the crenelations we need and fill them full of that same color. We have some crenelations on the bridge to this side tower, so let's load those and intersect them. And then delete them from that layer. We need two more selections. One for the bridges both the one at the front and on the side tower. And for the underside of the bridges. So let's do this front bridge first.

The only part we need to be careful about is separating the underside of the bridge. And the same with this little bridge to the side tower. Go through and intersect with the silhouette. Subtract the lower wall, middle wall, top wall, and domes and side towers. I noticed I missed a sliver of this bridge, I'm going to go through and hand select that.

We need to make a new layer, and let's call this one bridges. We're running out of colors here, but let's go with orange and fill it in. We have a little subwall on this top layer. And it'd be nice to have a separate mask for it. So, marquee around it. Then subtract the middle wall from it, and intersect it with the castle silhouette.

Then select the bridges layer again. Pick that same orange color and fill the selection with that. Load your crenelation forms layer and intersect just those tops crenelations and fill it again. All we need now is the underside of these bridges. So let's make a new layer and call it under bridge. We need to isolate those two remaining areas, load the silhouette, and subtract all of the other mask holding layers.

Now, just the underside of the bridges remain selected. And, for this one, let's choose magenta. Fill it and now we have mask holding layers for all these selections. Let's center it so we can see all our masks. In the next section I'll show you hot to set up your masks for use in toning your project.

There are currently no FAQs about Digital Matte Painting Essentials 3: Tone.

 
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

* Estimated file size

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Digital Matte Painting Essentials 3: Tone.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Learn more, save more. Upgrade today!

Get our Annual Premium Membership at our best savings yet.

Upgrade to our Annual Premium Membership today and get even more value from your lynda.com subscription:

“In a way, I feel like you are rooting for me. Like you are really invested in my experience, and want me to get as much out of these courses as possible this is the best place to start on your journey to learning new material.”— Nadine H.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.