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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.
After you've supposedly finished the painingt, you may think you're done. But my advice is to wait at least a day without looking at the work before re-examining it again. Then take another look. You're probably going to find a few small things to change that you haven't noticed before. I believe this fresh look is brought about by time away from the painting, and let's take a look what we have here so far. And the first thing I'm going to do is I'm going to turn off the Varnish layer and I just want to look around at this spot anything that doesn't make any sense and here's the way I do this.
I apply what I call my "what is that?" rule. And if I see something and I have to ask "what is that," take it away because you don't want things in your image that are going to do precisely that to your viewers. You want everything to be clear enough to be read so that there's no confusion about what things are and I can see a few right away. For example, if we go over here, there are some strokes I painted at one point for some reason, but now there are just kind of the squiggles and you know, what is that? Well, I have to ask that question.
So this is due for removal and I'm going to go and create a new layer above my background underneath the Varnish coat and let's get a little bit of Opaque Fan brush, because this is going to reduce it now and this is just going to be a painting brush that I'm going to use to pick up color and paint with. So let's grab this gray. I'm just going to go in here and paint this out. Now because the entire image is painted, all the strokes are going to fit in very nicely and I'll just kind of feather this in here.
So we don't want to have oddball things in here that are something that has to be asked. Here is another one, this little drip. I'm not sure what that is I'm sure it was a reflection or something, and I'm just going to give rid of it. Another one is right here and you look at the total image and all of a sudden this thing kind of stands out. It's like "what is that?" Well, since I have to ask that question, it's going away. Well, here we'll just paint in the side of the car and I think the windshield kind of got a little occluded by some paint, so I'm going to just add-in a little hint of windshield color, just gives the side of the car a little more shape that relates to the shape of a car. What else? Here's another one.
This is a light standard with a traffic light on it. I'm not sure why this happened, but once again I'm asking what is that, so I'm going to get rid of it. Even this little reflection or lighting back here is bothersome. So we're going to reduce that. Here's another thing I noticed. When I photographed this image these cars were at a stop sign and there were no people in the intersection. However, the light had just turned green and it was up here, and some how I kind of painted over it, so there is no color in there.
But if these people are crossing the intersection, it has to be red and so I've got to change this traffic light, so that it's red. So it's usually green, orange, and red. So red belongs right down here. And I'm going to grab a color not too bright and just paint it in there so that now we have the correct red light for this intersection. Also this should be darker since it's not lit up. Let's sample that color, our dark color, and just fill it in.
Okay, so now we've got the correct red light that should be showing when these people are crossing the intersection. So my advice to you is always, always, always give yourself a day or so to get away from a painting before declaring it finished, if at all possible. Sometimes in a rush job you can't do that. But whatever possible, try to give yourself that time. It's all too easy to get completely absorbed by the minutia and lose sight of the big picture. By getting away from the work you will clear your mind in return with a fresh perspective that which to evaluate the painting.
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