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Digital Painting: Street Scene

Waiting a day


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Digital Painting: Street Scene

with John Derry

Video: Waiting a day

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.
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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

Waiting a day

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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