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You must destroy detail

From: Digital Painting: Architecture

Video: You must destroy detail

I've taught expressive interpretation classes to a lot of photographers, and the number one mistake they typically make is to not initially remove enough detail from the source photograph. Let's keep in mind, a key element in the language of photography is sharp focus and fine detail. It's very hard for the photographer who has spent a lifetime achieving that goal to let go of this element. As a result, too much detail is often retained in the translation. And the so called painting continues to look photographic.

You must destroy detail

I've taught expressive interpretation classes to a lot of photographers, and the number one mistake they typically make is to not initially remove enough detail from the source photograph. Let's keep in mind, a key element in the language of photography is sharp focus and fine detail. It's very hard for the photographer who has spent a lifetime achieving that goal to let go of this element. As a result, too much detail is often retained in the translation. And the so called painting continues to look photographic.

You always have access to the source photograph. Always remember that. There's nothing you can do that you're going to lose information that you can't recall back. It's always there. In this environment that we're working in, you can always get it back. And just keep that tucked away in the back of your mind. So if you flub and make a mistake, don't worry. If nothing else, you have Undo to help you get back. But we have all these mechanisms in place that will enable you to go ahead and try things out.

And that's the basis really, of what I'm trying to teach you here in this video. Now, I want to show you a variant of this same image that I worked on prior to recording this just to give you an idea. Here's what an under-painting should look like. So you can see, we recognize what it is, but it's very loose, and there's really a lot of detail missing. I do recognize that it is this castle structure that we've been working with, but beyond that it gets pretty sketchy. We're not really aware of exactly what everything is.

So this is at least a level of looseness and breakdown of the image you want to achieve. If it has more detail than what you're seeing here, you're probably being too fastidious, and you want to really keep it very loose. So, in the next video, we're going to take a look at how to look at this image, actually this image, in more of a flat structure composition as opposed to the actual photographic details that we're looking at.

So, we're slowly getting closer to actually applying paint to our canvas, but not quite yet.

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This video is part of

Image for Digital Painting: Architecture
Digital Painting: Architecture

49 video lessons · 12326 viewers

John Derry
Author

 
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  1. 26m 4s
    1. Introduction
      1m 3s
    2. Using the exercise files
      32s
    3. Installing custom content
      2m 46s
    4. Setting up Wacom express keys
      13m 32s
    5. Setting Wacom touch ring preferences
      2m 14s
    6. Setting Wacom stylus preferences
      3m 24s
    7. Division of labor: Image prep and painting
      2m 33s
  2. 19m 9s
    1. Visual vocabularies
      3m 49s
    2. The vocabulary of photography
      7m 38s
    3. The vocabulary of painting
      4m 59s
    4. Looking at reality through a mental painting filter
      2m 43s
  3. 38m 57s
    1. Removing lens distortion with the Adaptive Wide Angle filter
      6m 47s
    2. Removing distractions
      8m 7s
    3. Don't be a slave to the original photograph
      10m 51s
    4. Correcting image adjustments
      2m 58s
    5. Telling a story with added image elements
      10m 14s
  4. 25m 2s
    1. The eye has a better sensor than a camera
      3m 2s
    2. Adding natural shadows with Field Blur
      8m 47s
    3. Using the Shadow/Highlight adjustment filter
      7m 48s
    4. Using the HDR Toning filter
      5m 25s
  5. 39m 56s
    1. Resolution is in the brushstrokes
      3m 26s
    2. Using the Surface Blur filter
      6m 17s
    3. Using the Displacement filter to add imperfections
      6m 22s
    4. Using the Oil Paint filter
      11m 51s
    5. Making tonal and color corrections
      12m 0s
  6. 22m 40s
    1. Nondestructive layer painting (NDLP): Your creative safety net
      5m 54s
    2. Setting up the Mixer Brush cloning action
      7m 29s
    3. Using cloning layers
      2m 58s
    4. Working with adjustment layers
      6m 19s
  7. 20m 7s
    1. Using tool presets and not brushes
      3m 41s
    2. Categorizing and organizing brushes
      6m 14s
    3. Adding canvas texture
      4m 51s
    4. Using Sample All Layers
      5m 21s
  8. 14m 48s
    1. You must destroy detail
      2m 9s
    2. Establishing compositional structure
      3m 46s
    3. Determining a style and sticking to it
      7m 30s
    4. Painting in progress: Finishing the underpainting layer
      1m 23s
  9. 26m 40s
    1. Understanding simplified indication
      9m 9s
    2. Understanding color: Warm advances, cool retreats
      4m 9s
    3. Painting in progress: Introducing texture to the intermediate layer
      13m 22s
  10. 40m 19s
    1. The play's the thing
      5m 18s
    2. Focusing on the subject through detail
      4m 40s
    3. Using a traditional paint color swatch set
      4m 37s
    4. Painting in progress: Completing the detail layer
      16m 25s
    5. Adding surface texture effects
      9m 19s
  11. 12m 47s
    1. It pays to wait a day
      1m 55s
    2. Adjusting your importance hierarchy
      4m 49s
    3. You'll never paint the same thing twice
      2m 7s
    4. Helpful resources and inspiration
      3m 56s

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