List of Figures


Chapter 1: Introduction to Character Design

Figure 1.1: The Frankenstein monster.
Figure 1.2: The 'Robot Monster' sketch.
Figure 1.3: Is this a character design?
Figure 1.4: Is this more of a character design?

Chapter 3: Expanding on Your Ideas When Creating the Character

Figure 3.1: Brainstorming can be painful but rewarding .
Figure 3.2: An interesting character seen at the local zoo.
Figure 3.3: A caricature of a family dog.
Figure 3.4: A gladiator armed only with asparagus and a smile.
Figure 3.5: A computer-generated inkblot.
Figure 3.6: A black and white inkblot picture.
Figure 3.7: A color inkblot picture.
Figure 3.8: An exaggerated character.

Chapter 6: Basic Principles for Improving the Drawing, Sketching, and Painting of Your Character

Figure 6.1: The zones of color in the face.
Figure 6.2: The location of highlights on the face.

Chapter 7: Value and Its Use in Picture Making

Figure 7.1: A polar bear in a blizzard.
Figure 7.2: Objects in the world are seen because of value.
Figure 7.3: Cast and form shadows.
Figure 7.4: The light source is close to the object.
Figure 7.5: The light source is distant from the object.
Figure 7.6: A cast shadow.
Figure 7.7: Size and position in space can both be determined simply by an object's cast shadow.
Figure 7.8: An example of the ability of a shadow to reveal important information about the object casting the shadow, even though the object is out of the field of view. You can easily surmise several things about the object, including both its position and intent.
Figure 7.9: Images that are predominantly light or dark.
Figure 7.10: A pattern that shows the decorative use of value.
Figure 7.11: This image shows how values can be used to change an object's visual location within an image.
Figure 7.12: Keeping the lightest values and greatest contrasts in the center of interest.
Figure 7.13: Massing value as opposed to random placement.
Figure 7.14: An image whose values are too balanced.
Figure 7.15: A formula for balancing the proportions of value in an image.
Figure 7.16: A blue sphere lit by a bright light showing the color on the terminating edge between the light and shadow.
Figure 7.17: An example of a light shining on a wall. Where the light is closest to the wall, the light is most intense when compared with the light on portions of the wall that are more distant from the light.
Figure 7.18: Identical values may look dark in lighter areas or light in dark areas.

Chapter 8: Color and Its Use in Picture Making

Figure 8.1: The colors of the spectrum are represented by individual hues.
Figure 8.2: A color's value is represented by how dark or light that color appears.
Figure 8.3: Chroma is represented by how gray a color looks.
Figure 8.4: Temperature is represented by how warm or cool a color appears.
Figure 8.5: Two squares of color with the same value; however, one is boring and flat, whereas the other shows good color quality.
Figure 8.6: An illustration of color distance.
Figure 8.7: Color weight.
Figure 8.8: Simultaneous contrast between equally intense colors.
Figure 8.9: Simultaneous contrast between intense color and gray.
Figure 8.10: The figure represents what could happen if you are not careful choosing your colors. The middle rectangle is one color but because of the colors that it is painted in to, its visual look changes dramatically.

Chapter 9: Using Lighting Arrangements to Light a Character Effectively

Figure 9.1: The key light is positioned high relative to the head.
Figure 9.2: The key light is positioned at head level.
Figure 9.3: A secondary or fill light.
Figure 9.4: A rim light.
Figure 9.5: A lighting setup using backlight.
Figure 9.6: An example of a very simple 45-degree lighting scheme.
Figure 9.7: Lighting at a 45-degree angle with one light source, but at a lower position.
Figure 9.8: An example of lighting using two light sources.
Figure 9.9: Using a single light source located at 90 degrees to the subject.
Figure 9.10: Lighting at a 90-degree angle with one light source, but at a higher angle.
Figure 9.11: Adding one 45-degree-angle fill light to bring back detail in the shadows.
Figure 9.12: Lighting at a 90-degree angle with one 45-degree-angle fill in the dark side of the face.
Figure 9.13: Lighting at a 135-degree angle to produce rim light.
Figure 9.14: Double rim lighting.
Figure 9.15: Front lighting at the camera level.
Figure 9.16: Rembrandt-style lighting.
Figure 9.17: Theatrical lighting.
Figure 9.18: A neutral white light.
Figure 9.19: The effect of a red light.
Figure 9.20: The effect of a green light.
Figure 9.21: A cast shadow that destroys the form of the object that it is cast on.

Chapter 10: Using Edges When Painting a Picture

Figure 10.1: An example of a rough and/or ragged edge.
Figure 10.2: An example of a razor -sharp edge.
Figure 10.3: An example of a hard edge.
Figure 10.4: An example of a soft edge.
Figure 10.5: An example of a non-edge.
Figure 10.6: Edges of greater value difference are visually more dramatic and eye catching than edges with less contrast.
Figure 10.7: Differing visual impact between identically blended edges.
Figure 10.8: Two intense complementary hues will give dramatic edges.
Figure 10.9: An edge formed by intense and muted complementary hues.
Figure 10.10: Two subdued complementary hues that form an edge are not as dramatic as more intense combinations.
Figure 10.11: An edge formed by analogous colors compared to an edge formed by complementary colors.
Figure 10.12: Edge differences between analogous colors of different temperatures .
Figure 10.13: An edge between two equally intense and bright colors.
Figure 10.14: An edge between an intense and bright color and a more neutral color.
Figure 10.15: An edge between two very neutral colors.

Chapter 11: Blending Edges in Your Digital Paintings

Figure 11.1: The image that will be used to blend color.
Figure 11.2: The Define Pattern menu item.
Figure 11.3: The Healing Brush tool.
Figure 11.4: The Healing Brush stroke appears to be white.
Figure 11.5: A nicely blended stroke.
Figure 11.6: Softer strokes result when you use multiple blends.
Figure 11.7: Large and small blending strokes.
Figure 11.8: The default Healing Brush.
Figure 11.9: The modified Healing Brush.
Figure 11.10: The stroke using the adjusted brush.
Figure 11.11: Result of the stroke using the new brush.
Figure 11.12: The pattern is taking over the blending of the colors.
Figure 11.13: The Render Clouds filter applied to the image.
Figure 11.14: Choosing Brightness and Contrast from the menu.
Figure 11.15: The blended image created using a pattern with some noise in it.
Figure 11.16: The Patch tool icon.
Figure 11.17: A selection made using the Patch tool.
Figure 11.18: Colors blended using the Patch tool.
Figure 11.19: Adding a small band of color in between the two main colors.
Figure 11.20: Blending after adding a small band of color in between the two major colors.
Figure 11.21: The Other Dynamics palette.
Figure 11.22: Colors sampled from each side of the image painted into the opposite side.
Figure 11.23
Figure 11.24: Blending can be achieved using overlapping brush strokes.

Chapter 12: Creating Textures and Patterns for Use in Digital Painting

Figure 12.1: Texture number 1.
Figure 12.2: Texture number 2.
Figure 12.3: Texture number 3.
Figure 12.4: The texture with offset applied.
Figure 12.5: The tall, vertical selection.
Figure 12.6: The selection that is cut and pasted.
Figure 12.7: The feathered horizontal selection.
Figure 12.8: The texture with both the horizontal and vertical seams covered.
Figure 12.9: The texture with the contrast increased.
Figure 12.10: The texture with the High Pass dialog box displayed.
Figure 12.11: The texture after running the Auto Levels command.
Figure 12.12: The Define Pattern command found under the Edit menu.
Figure 12.13: The Pattern Maker.
Figure 12.14: The Pattern Maker window is filled with the generated pattern/texture.
Figure 12.15: The Pattern Name dialog box appears when you click on the small floppy logo below the preview window.
Figure 12.16: Begin painting in the texture, at first limiting your work to the center of the image.
Figure 12.17: The texture offset in both the horizontal and vertical directions.
Figure 12.18: Using the same brushes and painting in the center of the image.
Figure 12.19: The image offset again but only one quarter of the dimensions.
Figure 12.20: The completely hand-drawn custom texture.

Chapter 13: Photoshop Brushes

Figure 13.1: The location of the Brush tool in Photoshop.
Figure 13.2: The submenu item showing the Brush tool and the Pencil tool.
Figure 13.3: The Brush Options bar.
Figure 13.4: The Tool Preset Picker menu.
Figure 13.5: The Tool Presets tab.
Figure 13.6: The Brush Picker with Brush Diameter and Brush Hardness highlighted.
Figure 13.7: The Brush Picker with large thumbnails of the brush profiles displayed.
Figure 13.8: The Brush Mode menu.
Figure 13.9: The Brush Opacity slider along with an image showing strokes using various opacity settings.
Figure 13.10: The Flow slider and an image showing strokes using different flow settings.
Figure 13.11: The Airbrush icon.
Figure 13.12: The Brush tab.
Figure 13.13: The Brushes Toggle icon.
Figure 13.14: The Brushes palette.
Figure 13.15: The option boxes and padlock icons located in the Brushes palette.
Figure 13.16: The Brush Presets located in the Brushes palette.
Figure 13.17: The Brush Tip Shape menu located in the Brushes palette.
Figure 13.18: Selecting the hard elliptical 45 brush.
Figure 13.19: The Angle and Roundness controls.
Figure 13.20: The Hardness slider and brush preview window.
Figure 13.21: Moving the Hardness slider down gives a softer stroke.
Figure 13.22: The Spacing control slider.
Figure 13.23: Moving the slider up on the Spacing control puts increasing amounts of space between paint dabs.
Figure 13.24: Random spacing in the brush stroke caused by deselecting the Spacing box.
Figure 13.25: The Shape Dynamics palette.
Figure 13.26: Deselecting the Shape Dynamics options and the results.
Figure 13.27: Moving the Size Jitter slider to the right gives a more random stroke.
Figure 13.28: The Minimum Diameter slider.
Figure 13.29: The Angle Jitter set to 0%.
Figure 13.30: Increasing the Angle Jitter slider.
Figure 13.31: The Roundness Jitter slider.
Figure 13.32: The Scattering palette lets you 'scatter' the brush dabs.
Figure 13.33: A stroke with a very high Scatter setting.
Figure 13.34: The Count Jitter slider and menu for picking what will drive the effect.
Figure 13.35: The Texture palette showing a selected pattern and its effect on the brush stroke.
Figure 13.36: The Texture palette showing the results of adding Depth and Depth Jitter to a brush.
Figure 13.37: The Dual Brush palette.
Figure 13.38: The Color Dynamics palette.
Figure 13.39: The result of increasing the Foreground/ Background Jitter slider.
Figure 13.40: Increasing the Purity slider.
Figure 13.41: The result of moving the Purity slider.
Figure 13.42: The resulting stroke when the Purity slider is set too high.
Figure 13.43: The remaining sliders in the Color Dynamics palette.
Figure 13.44: The Other Dynamics palette showing the Opacity and Flow sliders.
Figure 13.45: The last five menu items in the Brushes palette.
Figure 13.46: The results of checking the Noise box.
Figure 13.47: The puddling effect caused by checking the Wet Edges box.
Figure 13.48: The result of checking the Smoothing box.
Figure 13.49: Click the small triangle on the Brush Preset Picker.
Figure 13.50: The New Brush Preset command.
Figure 13.51: The Save Brush dialog box.
Figure 13.52: All the commands.
Figure 13.53: A photo of tree bark that is perfect for creating a custom brush.
Figure 13.54: The resized texture.
Figure 13.55: The image converted to grayscale and contrast increased.
Figure 13.56: The Define Brush Preset command.
Figure 13.57: Name your new brush.
Figure 13.58: The radial fill in the alpha channel.
Figure 13.59: The alpha channel loaded as a selection.
Figure 13.60: A new image created by pasting from the Clipboard.
Figure 13.61: Saving your new brush.
Figure 13.62: The Save Brushes command.
Figure 13.63: Saving a brush library.
Figure 13.64: The Brush Preset Manager.

Chapter 14: Painting an Eye

Figure 14.1: Brush settings for drawing the eye.
Figure 14.2: Beginning the drawing.
Figure 14.3: Continuing to draw the eye.
Figure 14.4: Lighting effect applied to the sketch of the eye.
Figure 14.5: Painting in the shadow areas and the iris's color.
Figure 14.6: Redrawing the eye over the airbrushed colors.
Figure 14.7: Working lighter colors into the eye painting.
Figure 14.8: Adding more color to the iris of the eye.
Figure 14.9: Slight blending and reestablishing the detail to finish the eye.

Chapter 15: Painting a Face

Figure 15.1: The beginning sketch.
Figure 15.2: The sketch after we used the Levels command.
Figure 15.3: Converting the layer's Blending mode to Multiply.
Figure 15.4: Adding color to the background.
Figure 15.5: Painting color into the turban.
Figure 15.6: Painting in the large dark shape of the face.
Figure 15.7: Defining the planes in the face using lighter colors.
Figure 15.8: Notice the intense color and the different colors in the face, as you can see in the circled area.
Figure 15.9: The merging of the sketch and painting layers .
Figure 15.10: The background color being used as the highlight color.
Figure 15.11: Refining the painting and cooling the colors in the flesh using the background color.
Figure 15.12: Adding the background, shirt, and the value patterns within the turban.
Figure 15.13: A closeup of the face
Figure 15.14: Painting the turban.
Figure 15.15: The finished face.
Figure 15.16: The finished face with earrings.

Chapter 16: Painting Hair

Figure 16.1: The basic figure sketch we will be working from.
Figure 16.2: The sketch in a more refined state showing the patterns in the hair.
Figure 16.3: Applying the lighting filter to the background layer of the painting.
Figure 16.4: Beginning the initial block in of the darker areas in the painting.
Figure 16.5: Getting all the darker color and value into the hair and face and the start of work in the background.
Figure 16.6: Adding color into the figure, hair, and background.
Figure 16.7: Painting some lighter and darker touches into all of the hair and skin.
Figure 16.8: Painting in the general, overall color of the hair.
Figure 16.9: Adding some highlights into the hair using background colors.
Figure 16.10: Painting on the front strand of hair hanging over the forehead.
Figure 16.11: Create a new layer and darken the hair.
Figure 16.12: Adding dramatic highlights into the hair using background colors.
Figure 16.13: Adding smaller strands of hair, working the areas where the hair and skin overlap, and painting the shadows in the drapery.
Figure 16.14: More work in both the drapery and skin/hair.
Figure 16.15: The result of copying, pasting, changing the blending mode, and merging the two layers of the figure.
Figure 16.16: Cleaning up the figure's contours and blending colors in both the skin and drapery.
Figure 16.17: Cleaning up the painting in the arms.
Figure 16.18: Strong darks are painted back into the hair.
Figure 16.19: Adding some individual and detailed strands of hair to the painting.
Figure 16.20: The background is painted using custom brushes.

Chapter 17: Painting a Male Portrait Using Varied Textures

Figure 17.1: The initial sketch scanned into the computer.
Figure 17.2: The initial sketch with a bluish lighting effect applied.
Figure 17.3: The Layer Style window.
Figure 17.4: The image with both layers visible.
Figure 17.5: Beginning to block in the colors working from dark to light.
Figure 17.6: Continuing to add color in the face and the background.
Figure 17.7: Painting with a textured brush.
Figure 17.8: A closeup of the face.
Figure 17.9: Adding some of the flesh tones into the background.
Figure 17.10: The ugly stage has begun, but keep painting and correcting the errors.
Figure 17.11: Correcting the size of the nose.
Figure 17.12: Using a smaller brush to paint in more of the face and to paint the costume.
Figure 17.13: Painting the beard.
Figure 17.14: The result of copying, pasting, changing the blend mode to Multiply, adjusting the opacity, and merging the layer down.
Figure 17.15: Scaling the eye again.
Figure 17.16: Adding the highlight areas into the hair, painting the zipper , and blending some of the face.
Figure 17.17: Painting in the hair curls.
Figure 17.18: A shadow under the curl.
Figure 17.19: The sketch superimposed over the painting.

Chapter 18: Painting a Strange-Looking Character

Figure 18.1: Photoshop's Swatches palette.
Figure 18.2: The original image used to create a new Swatches palette.
Figure 18.3: The Indexed Color options box.
Figure 18.4: The reduced palette of your image.
Figure 18.5: The new Color Table loaded as the Swatches palette.
Figure 18.6: A scanned image.
Figure 18.7: The color picker with the RGB values highlighted.
Figure 18.8: The Lighting Effects options box.
Figure 18.9: The two-layer image now looking very blue.
Figure 18.10: Beginning to paint the skin and hair using the swatches from the color palette.
Figure 18.11: The B button selected in the color picker.
Figure 18.12: More work in the face.
Figure 18.13: Additional work on the face.
Figure 18.14: Rim light added to the shadow side of the face.
Figure 18.15: Painting in the clothing on a separate layer, cleaning up the contour of the hair, and putting color into the eye.
Figure 18.16: Painting the iris of the eye with a bright color.
Figure 18.17: There is nothing like a little face decoration.
Figure 18.18: The background layer darkened significantly.
Figure 18.19: Textures painted on their own layer in the background.
Figure 18.20: Skin textures painted on their own layer.
Figure 18.21: The facial textures cleaned up.
Figure 18.22: The Bevel and Emboss options in the Layer Style menu.
Figure 18.23: The Contour options in the Layer Style/Bevel and Emboss options.
Figure 18.24: The Texture options in the Layer Style/Bevel and Emboss options.
Figure 18.25: The finished image.
Figure 18.26: The two-layer image with a warm lighting effect applied.
Figure 18.27: The block-in of the major colors of the face.
Figure 18.28: Some blending, darkening, and refining of the painting.
Figure 18.29: Adding the rim light.
Figure 18.30: Adding clothing on a new layer, cleaning up the hair, and painting the iris.
Figure 18.31: Jewelry and studs added.
Figure 18.32: The darker, textured background.
Figure 18.33: Textures added to the skin of the figure.
Figure 18.34: The finished image.

Chapter 19: Painting a Creature and a Candle

Figure 19.1: The scanned sketch.
Figure 19.2: Color comp.  
Figure 19.3: Setting the Mode to Multiply.
Figure 19.4: Airbrushing color onto a new layer over the background sketch.
Figure 19.5: The results of using the Eraser tool to clean up the edges of the character.
Figure 19.6: The Canvas Size box.
Figure 19.7: The larger image with the background cut and pasted.
Figure 19.8: Blending the background and painting in the checkered floor.
Figure 19.9: The characters layers are merged and then rotated to a more vertical position.
Figure 19.10: Establishing some of the darks and erasing some of the white edges.
Figure 19.11: Moving the character up to sit on the top of the floor and working on some of the smaller details.
Figure 19.12: The character with richer color and additional work in the detail areas.
Figure 19.13: A closeup of the face showing the level of detail at this point in the painting process.
Figure 19.14: The new alpha channel.
Figure 19.15: The second background layer with its blend mode set to Multiply.
Figure 19.16: The color theme of the image is more cohesive and harmonious.
Figure 19.17: Gaussian Blur applied to the shadow layer.
Figure 19.18: The creature now has a shadow on the wall behind him.
Figure 19.19: The painted candle.
Figure 19.20: The painted candle flame.
Figure 19.21: The painted candle in relationship to the creature in the painting.
Figure 19.22: The painted candle glow.
Figure 19.23: The complete painting after painting in the candle glow.
Figure 19.24: Textures painted into the background to give more interest.
Figure 19.25: The Bevel and Emboss menu.
Figure 19.26: The Contour Editor.
Figure 19.27: The Texture menu.
Figure 19.28: The painting with a three-dimensional background.
Figure 19.29: Changing the checkered floor.
Figure 19.30: The adjusted character and reworked floor.
Figure 19.31: The candlelight painted onto the character.
Figure 19.32: Some new cracks in the floor.
Figure 19.33: Painting in the hairpiece.
Figure 19.34: The finished painting.

Chapter 20: Painting the Fabric of a Character's Costume

Figure 20.1: The sketch from a reference photo.
Figure 20.2: The sketch with a lighting effect applied.
Figure 20.3: The face of the girl blocked in on a new layer.
Figure 20.4: More painting in the blonde hair and blocking in the major values in the hand and sword.
Figure 20.5: The image ready to have the fabric painted.
Figure 20.6: The lights and darks of the image blocked in.
Figure 20.7: The dark yellows of the cape are also painted in.
Figure 20.8: Drawing in the folds of the gown.
Figure 20.9: Painting in some of the lighter values of the costume.
Figure 20.10: Examples of intense colors added to the white fabric.
Figure 20.11: Refining the costume and keeping the lightest lights close to the face, which is the center of interest.
Figure 20.12: The Adjustments/Shadow/ Highlight menu.
Figure 20.13: The results of using the Shadow/Highlight adjustment.
Figure 20.14: A continued refining of the fabric on the shadow side of the costume.
Figure 20.15: Notice the variety of colors used in the shadows of the closeup of the costume.
Figure 20.16: The whole painting to this point.
Figure 20.17: The initial paint-in of the cape.
Figure 20.18: A texture for the background.
Figure 20.19: A texture pasted into the background.
Figure 20.20: A texture's blend mode changed to Multiply.
Figure 20.21: The result of finish work to the right sleeve and cleaning up the contours of the costume.
Figure 20.22: Finishing the hair.
Figure 20.23: Finishing the sword.
Figure 20.24: Painting a light area in the background just to the left of the face.
Figure 20.25: The alpha channel created and filled with a radial gradient.
Figure 20.26: The finished image.

Chapter 21: Painting a Man with a Sword

Figure 21.1: The basic sketched drawing.
Figure 21.2: The original sketch with the rendered lighting effect.
Figure 21.3: Painting on the Multiply layer to darken the image.
Figure 21.4: Painting down the figure with little concern for the original sketch's details.
Figure 21.5: The image is two layers at this point, with the top layer having a motion blur applied and the composite method set to Multiply.
Figure 21.6: Applying another lighting effect to the base layer.
Figure 21.7: Painting the face in blue and purple tones using the Airbrush Pen Opacity Flow brush.
Figure 21.8: Redefining the edges of the figure.
Figure 21.9: The painting with a brush that has both Scatter and Texture checked going over the figure's body.
Figure 21.10: The beginning of the texture work into the image.
Figure 21.11: Continued developments in the background textures.
Figure 21.12: Changing to different textured brushes and working some dark color into the background.
Figure 21.13: Painting a brick wall behind the subject using a custom brush made of a brick-like texture.
Figure 21.14: Continued work into the background with Airbrush Pen Opacity Flow to get some variation in color and value.
Figure 21.15: Strengthening the silhouette of the hand.
Figure 21.16: Adding more texture and color into the background.
Figure 21.17: Using textured brushes to start painting armor into the character.
Figure 21.18: More texture work, especially around the head and hand.
Figure 21.19: Changing to round and blotchy brush texture and continuing to work into the background and figure.
Figure 21.20: Adding a story to the image by simply adding a bit of red to the extended finger.
Figure 21.21: Adding some dimension to the rock wall behind the figure.
Figure 21.22: Adding more detail into the background and implied detail into the left arm using the Airbrush Pen Opacity Flow brush.
Figure 21.23: Adding 'scribble' detail to the image.
Figure 21.24: Painting on the sword and on the background around the sword.
Figure 21.25: Painting a glow around some of the forehead and sword.
Figure 21.26: The finishing touches are placed on the sword's handle.

Chapter 22: Painting the 'Heaven and Hell' Image

Figure 22.1: The sketch of hell's angel.
Figure 22.2: The two angels back to back.
Figure 22.3: Blocking in the bad angel.
Figure 22.4: Texture is added into the skin.
Figure 22.5: Blocking in the good angel.
Figure 22.6: The background layer.
Figure 22.7: The figure layer revealed against the background layer.
Figure 22.8: Notice the strong colors that are added to the figure, which is to appear essentially white.
Figure 22.9: A closeup of the hell angel's smoking palm.
Figure 22.10: Adding a light source because of the smoking palm.
Figure 22.11: The butterfly , sky layers, and the flames of hell are painted.
Figure 22.12: A closeup of the flames.
Figure 22.13: Painting in the flames.
Figure 22.14: A closeup of the bad angel that shows the detail.
Figure 22.15: A closeup of the good angel's face that shows the use of color and finished detail.
Figure 22.16: Extending the flames farther into the good angel's background.
Figure 22.17: Painting the sky into the hell angel's side of the image.
Figure 22.18: A closeup of the butterfly with its accompanying glows and sparkles.
Figure 22.19: Adding jewelry and tattoos to the hell figure.
Figure 22.20: Adding darker clouds, getting rid of the jewelry and tattoos, and making light streak through the clouds.
Figure 22.21: The final painting.

Chapter 23: Painting the 'Wizard' Image

Figure 23.1: The original sketch.
Figure 23.2: The original sketch after adjusting the levels to get rid of the grays.
Figure 23.3: Using the Gradient tool with a radial gradient on the layer to get rid of the entire white surface.
Figure 23.4: Beginning to paint in the Wizard's beard to establish some lights.
Figure 23.5: Beginning to paint the face a little more clearly.
Figure 23.6: Continuing to work on the face, beard, and hands.
Figure 23.7: A new layer with the beginnings of the costume painted around the face.
Figure 23.8: Continue to paint the robe using numerous different hues of blue.
Figure 23.9: Painting the rest of the robe.
Figure 23.10: Painting the sash, belt, and staff.
Figure 23.11: Moving the face and robe layers to the right of the image.
Figure 23.12: Blocking in an artist table on a new layer.
Figure 23.13: More work on the table.
Figure 23.14: Nicks and dents on the edges of the table.
Figure 23.15: Painting on the canvas and pots on a new layer..
Figure 23.16: Adding reflected light in the cup and additional detail in the kettle and table.
Figure 23.17: Changing the bloody color of the paint on the brush to green.
Figure 23.18: More work on the costume and changing the gesture of the hand.
Figure 23.19: A significant amount of work has been done in the hand and face layer.
Figure 23.20: The whole image with lots of work done in the face and hands.
Figure 23.21: Adding decorations to the costume and making a major change in the costume itself.
Figure 23.22: The Lock Transparent Pixels box.
Figure 23.23: More painting in the robe and sandals.
Figure 23.24: More work on the beard, decorations on the robe, and paint on the kettle and bowl.
Figure 23.25: Work on the background layer, adding a large crack.
Figure 23.26: Adding a hand-drawn, slightly carved-looking texture to the background.
Figure 23.27: Painting the kettle and around the feet of the Wizard.
Figure 23.28: Shadows are added to the amulets hanging from the Wizard's belt.
Figure 23.29: The beard is almost finished.
Figure 23.30: The new alpha channel.
Figure 23.31: The resulting image with each layer selected using the alpha channel and pasted back into the image with a blend mode of Multiply.
Figure 23.32: More finish on the robe and the canvas mistake.
Figure 23.33: The repositioned hand.
Figure 23.34: Additional work on the robe and sandals.
Figure 23.35: Stars and trim added to the costume.
Figure 23.36: Painting some rings on the Wizard's fingers.
Figure 23.37: The hand is resized to a more pleasant proportion.
Figure 23.38: A very subtle texture added to the new layer on top of the background layer.
Figure 23.39: A little modern art added to the canvas in the background.
Figure 23.40: Gold trim added to the sleeves of the robe.
Figure 23.41: The metallic bowl is repainted on the table.
Figure 23.42: Purple paint is painted into the interior of the bowl.
Figure 23.43: The kettle and cup are finished.
Figure 23.44: Green drips, the pinky ring, and the fingernails are painted.
Figure 23.45: Some final touches in the kettle and the finishing work in the amulet.
Figure 23.46: Texture added to the floor and the orange tassels of the belt are painted.
Figure 23.47: A very intense rainbow added to the image.
Figure 23.48: Blurring and decreasing the opacity of the rainbow.
Figure 23.49: Sparkles added and the final image.



Digital Character Design and Painting
Digital Character Design and Painting: The Photoshop CS Edition (Graphics Series) (Charles River Media Graphics)
ISBN: 1584503408
EAN: 2147483647
Year: 2004
Pages: 112

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