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It pays to wait a day

From: Digital Painting: Architecture

Video: It pays to wait a day

After you've supposedly finished a painting, you may think you're done. But my advice is to wait at least a day without looking at the work before reexamining 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. First and foremost, be sure you take advantage of a fresh pair of eyes to look at the painting. You also want to use that fresh perspective to make small adjustments, and an example I see in this image is right here in the main window.

It pays to wait a day

After you've supposedly finished a painting, you may think you're done. But my advice is to wait at least a day without looking at the work before reexamining 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. First and foremost, be sure you take advantage of a fresh pair of eyes to look at the painting. You also want to use that fresh perspective to make small adjustments, and an example I see in this image is right here in the main window.

I know that that is a reflection of a tree branch, but most people probably aren't and they're going to look at it more like, is that a crack in the window? What is that? So I will probably go in and smear that around a little bit, just to soften it up to make it more like a reflection, and not so sharp-edged as it is now. And that's exactly what I'm talking about here. If you have to ask, what is that, you want to remove it. Clarity reigns in a painting. Now, there's also this concept that I like to say that a painting is never done.

You'll find that, no matter how far you think you've gone and finished the image, the more time you spend away from it and come back, you'll find things that you'll say, I could've done better, I should've done this a little differently, oh, I wish would have used that technique. And those are all good things, actually, because you're developing your sense of how to do a painting, and you are establishing for yourself what you want to improve on the next time out. And each time you do that, you'll probably have some things in the image you wished you could have done better. But just take it as it is, it's what you're capable of at the time you did it, and just use those little things that bugged you a little bit and improve on them the next time around.

By getting away from the work, you'll clear your mind and return with a fresh perspective with which to evaluate the painting.

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This video is part of

Image for Digital Painting: Architecture
Digital Painting: Architecture

49 video lessons · 11710 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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