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The play's the thing

From: Digital Painting: Architecture

Video: The play's the thing

While I have been stressing the importance of using detail to direct the viewer's interest, it is equally important to utilize areas of contrasting non-interest. An image with no rest areas becomes fatiguing to look at, and confuses the viewer's eye as to what is important within the scene. In this video, we'll take a cue from the world of stage and theater to clarify things. When the play opens up, the whole stage is lit up and you've got all the actors on the stage. You're allowed to see whatever the backdrop and scenery is on the stage at the outset, so it gives you a sense of place and environment that the actors are in. But once the play starts, the lights will dim down, and the spotlight will be solely on the actor and all of that other background is in darkness.

The play's the thing

While I have been stressing the importance of using detail to direct the viewer's interest, it is equally important to utilize areas of contrasting non-interest. An image with no rest areas becomes fatiguing to look at, and confuses the viewer's eye as to what is important within the scene. In this video, we'll take a cue from the world of stage and theater to clarify things. When the play opens up, the whole stage is lit up and you've got all the actors on the stage. You're allowed to see whatever the backdrop and scenery is on the stage at the outset, so it gives you a sense of place and environment that the actors are in. But once the play starts, the lights will dim down, and the spotlight will be solely on the actor and all of that other background is in darkness.

Your concentration, by virtue of the fact that the actor is lit and everything is dark, puts full attention on that item. What I do, when I am working on an image, whenever I find myself kind of spending time working on something, I have to stop and ask myself, is this the actor or is this the stage? And if it's the stage, I should stop working on it right away because I'm fussing over an area that is not important. We need to look at this image, and determine, you know, who are the actors on the stage.

And I've just temporarily turned on the reference, so we can kind of see the overall image. For sure, the building being the largest element, that's kind of our backdrop for this whole thing. And then, in a less general way, we have the full outdoors that is in the distance. And then, even beyond the building, the true actors on this stage, I would say, are the ball, the tricycle, and the little girl up in the window. That's ultimately the most important elements in the scene. While we're here, quite the opposite, but a similar kind of problem, is that you don't want distractions.

And we've talked about this before. If you have to say, what's that? That's a problem. And right now, for me, are these smeary things that happened where the trike and the ball are. They're colors that don't make any sense there. And once we paint those objects there, what it's going to look like is there's a bunch of smeariness of the colors that the actual actors possess that are somehow smeared around them, and we don't want that. So I need to come up with a little trick here to figure out, how do I get rid of that? Here's how I figure is the best way to do it.

I'm in the Intermediate layer, lets also zoom up on it, so we have full access to what we've got to fix, right there and over here. I'm going to go ahead and create a new layer. We've got now a new latent layer sitting there that I can paint on. It's not a Cloning Layer, but what we're going to do is pick up some color adjacent to these colors that we want to get rid of, and then we'll paint with them. But we can take advantage of all of the color that's already there to essentially do a patch job. So what I need to do is grab a regular brush.

I'm going to get an Opaque Flat Fan, and that's the same brush I was using as cloner, remember. So rather than get lots of different brushes, I'm pretty much staying consistent. I'm just now using a brush that's actually going to apply its own color. As opposed to the Cloning brush, which literally has the colors of the image coming through it. So you may remember from an earlier video that I've assigned a key on the Wacom tablet that lets me toggle on and off, Sample All Layers. You can see it up here at the top. I'm clicking on that to turn it on and off.

So what I want to do is temporarily sample all layers. So I am going to enable it, and then, the other thing I've done that's part of the optional material you're getting with this tile is the front button of my Wacom pen. When I click on it, it allows me to sample all colors when I am in the mixture brush. So I'm just going to grab a color right here, and I'm going to disable Sample All Colors. And now I can paint on this layer, which is resting immediately above this, and start to paint out these colors.

And so I'll, a few times here, need to enable Sample All Colors. Sample an area, like right here. And then just paint into it. And so it takes a few samples to start to stroke this out and make sure that we don't have this oddball color combination. So it'll just take a few of these samples to get adjacent color picked up. And, I can use it then to paint with on the cleanup Layer. See that, I didn't turn off Sample All Layers.

You see how slow my brush was? That's why you'd want to disable Sample All Layers. Here I'll do it again. Now watch this. That's because Sample All Layers is on. Now I'll turn it off and disable Sample All Layers, and there, it's painting fine. That's the importance right there of having Sample All Layers off when you're painting in this layered environment. I'll get this all cleaned up, and then in the next video, we'll continue talking about the Detail Layer.

Show transcript

This video is part of

Image for Digital Painting: Architecture
Digital Painting: Architecture

49 video lessons · 11746 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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