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You'll never paint the same thing twice

From: Digital Painting: Architecture

Video: You'll never paint the same thing twice

So here's our finished image, and I mentioned at the outset of the course that I might want to compare what I did during this course compared to what I did with the same image previous to the course, just so we can see the differences between mood, and feeling, and how I was performing. All of those things go into what constitutes a painting and how you approach it. So here's the image we just finished, and there's the image that I did before. So there's some major differences. In this case, it's much brighter, it's got more saturated color.

You'll never paint the same thing twice

So here's our finished image, and I mentioned at the outset of the course that I might want to compare what I did during this course compared to what I did with the same image previous to the course, just so we can see the differences between mood, and feeling, and how I was performing. All of those things go into what constitutes a painting and how you approach it. So here's the image we just finished, and there's the image that I did before. So there's some major differences. In this case, it's much brighter, it's got more saturated color.

I also cropped this in such a way that the castle is much larger in the image. Now let's go back and look at the other one. Here it is, and actually I have put a filter on it. That's what it looked like when we finished it. I went ahead and I thought it'd be interesting to try to match up with the other one a bit. Here is truly the one that I did, and just having looked at the other one, I realized, oh, maybe this a little muddy, a little dark. So, here's one of those cases of where waiting a while and looking at something, you may benefit from it.

So now, seeing the other one and looking at this I realize it stands well to have applied a little bit of a curve to it, to brighten the overall image up. The other thing is, the castle is smaller in the image. That environment that it's in this, this country scape seems much larger and what it does is it tends to make this castle seem more isolated. Maybe that improves this by giving that sense of isolation that this one lacks a bit, because there's not much going on against the edges of the castle.

The landscape is somewhat diminished by the fact that it's been cropped out. You'll never do the same image exactly twice, it will always come out differently, even if it's the same subject as I've shown you here. It's not robotic, it's always different, And that's your emotion and feeling entering into the image. And hopefully, some of that is communicated in the final artwork.

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This video is part of

Image for Digital Painting: Architecture
Digital Painting: Architecture

49 video lessons · 11571 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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