Join David Mattingly for an in-depth discussion in this video Separating surfaces, part of Digital Matte Painting Essentials 3: Tone.
In this section, we're going to work to separate the surfaces of our castle.…And here we'll really put the mask holding layers to good use.…You probably thought I went overboard on creating them, but this section will be…hard to do cleanly if you didn't set them up for all your surfaces.…Let's look at this area between the lower and middle walls.…Right now the only way you know this lower wall is different from the upper wall…is that there's a line drawing of the cranulation showing it.…There is no tonal difference between them.…
But if you were looking at a real castle like this, I…guarantee you would see a tonal difference between this lower and middle wall.…Because the lower wall would be getting more reflected light, and this…middle wall would be a little darker, making it fall back in space.…We're going to want to darken the middle…walls, so load in the mask for the middle wall.…This mask contains both the light and dark…side of the middle section of the castle, which…is good, since we're going to want to…
This course is part 3 in David's Digital Matte Painting Essentials series. Go back to Digital Matte Painting Essentials 2: Perspective, part 2, to recreate the castle drawing he uses in this course, or if you simply want to learn more about form, you can use the example provided in the exercise files.
- Selecting the silhouette
- Find the dark sides and light sides in the drawing
- Using mask-holding layers
- Examining the light and dark sides of rounded surfaces
- Looking at the cores
- Adding cast shadows
- Separating surfaces with final darks
- Adding ambient occlusion