Tutorial: Painting the Wizard Image | Digital Character Design and Painting: The Photoshop CS Edition (Graphics Series) (Charles River Media Graphics)

Tutorial: Painting the 'Wizard' Image

When you're ready to start, follow these steps:

Scan the sketch (shown in Figure 23.1) at 300 dpi. Doing so will give you a large enough image for decent prints. The original sketch is available on the CD-ROM if you care to use it instead of a sketch of your own.

Figure 23.1: The original sketch.
While in Photoshop, use the Image/Adjustments/Levels command to take away most of the gray in the image. Copy the entire image, cut it, and paste it back as a new layer. Then, change the blend mode of the layer to Multiply so that all of the white becomes clear. You now have an image that has two layers each with a copy of the Wizard sketch on it (Figure 23.2). Hide the top layer. This layer with the sketch will only be used if you need to reestablish your drawing.

Figure 23.2: The original sketch after adjusting the levels to get rid of the grays.
Create a new layer and name it background. Using the Gradient tool, fill the layer with a Radial Gradient to get rid of all of the bright white, as shown in Figure 23.3. Whether you're painting digitally or traditionally, painting on a white surface only makes your job harder and is simply not a smart thing to do. We will be painting the Wizard in blue-purple robes, so we chose the color of the gradient applied to contrast nicely with the cooler colors we will be using. Save the image with the number '02' in the name. We eventually will have a series of images with names containing the number of their development. Right now the layer with the gradient obscures the sketch on the background layer. Change the blend mode of this layer to Multiply. You will notice that the colors in the background do not change. This is because you are multiplying them over white but you are now able to see the sketch on the background layer.

Figure 23.3: Using the Gradient tool with a radial gradient on the layer to get rid of the entire white surface.
Create a new layer and move it so that it is between the top layer (containing the drawing) and the background layer. Using one of Photoshop's brushes, begin to paint in the beard, as shown in Figure 23.4. A good brush to use for this work is the Airbrush Pen Opacity Flow brush at its default settings. Increase either the size , opacity, or both to suit your particular needs. We will be gradually covering the sketch on the background layer with color, but do not be concerned . If you feel we may be losing the drawing, simply turn on the visibility of the top sketch layer. As in traditional painting, we will try to get some of the lightest lights and darkest darks established quickly so that we know the value range of our painting. Save the image using '03' in the name.

Figure 23.4: Beginning to paint in the Wizard's beard to establish some lights.
Most all of the painting of the Wizard will be on this layer that we have started painting the beard on. We are now going to start painting on the Wizard's face in earnest. Begin painting some detail into the face as you try to refine the features. Notice in Figure 23.5 that we are also beginning to put some of the face color into the hands. It is always a good idea to work across the image when developing the initial painting to help keep the color harmonious. Save the image with '04' in the name.

Figure 23.5: Beginning to paint the face a little more clearly.

You get the idea here that saving is very important. You can assume from this point on that we have saved every image displayed in this demonstration to its individual file; the save instruction will not be repeated.
Using the same brush and making sure that the Face layer is the active layer, continue to refine the features and hands as shown in Figure 23.6. The goal is to take the face, beard, and hands to about 60 percent complete. We do not want to spend more effort to finish them at this point as it makes implementing corrections and changes much harder mentally.

Figure 23.6: Continuing to work on the face, beard, and hands.
Create a new layer, name it robe or some other descriptive name, and begin to work on the Wizard's costume, as shown in Figure 23.7. This layer should be located under the face-beard layer so you will not need to worry about painting around the features we have already painted . In this case, we pick a middle value bluish color that will contrast nicely with the background colors.

Figure 23.7: A new layer with the beginnings of the costume painted around the face.
Continue to paint into the costume, working from the darker values to the lighter ones, as shown in Figure 23.8. We want to make sure that we are using lots of different hues of blue varying to almost violet so that we keep a vibrant and interesting color scheme.

Figure 23.8: Continue to paint the robe using numerous different hues of blue.
Continue to paint the remainder of the robe. As we get farther away from the head, slightly gray the blues. This is for the purpose of keeping the most intense color close to the center of interest, as in Figure 23.9. We do not want to take the painting of the robe to the same degree of finish as the face at this point as there is a much greater chance we will be making additional changes to the painting.

Figure 23.9: Painting the rest of the robe.
You can create a new layer for the next step or work on the robe layer. Begin to paint in some of the decoration on the Wizard's costume, such as the sash around the hat and the belt. The colors are chosen because they are complementary to the blues and purples. Also begin to paint the Wizard's staff, which is in reality a paintbrush. Figure 23.10 shows the results.

Figure 23.10: Painting the sash, belt, and staff.
The Wizard figure is very centrally located at this point. We are going to want to put some background in this image so we will need to move the figure of the Wizard or change the size of the image. In this case, we want to maintain the square format of the painting, so let's move the figure to the right on the picture plane. Using the Move tool, move both the robe layer and the face layer to the right, as shown in Figure 23.11. For our purposes, it is all right that the bottom of the Wizard's robe goes off the right side of the painting. Make sure that you get your layers aligned as you move them around. We now have a lot more room to put in some background elements to enliven the image.

Figure 23.11: Moving the face and robe layers to the right of the image.
Create a new layer just above the background layer and begin to paint in a table, as shown in Figure 23.12. Do not worry about anything at this point but the basic shape and values.

Figure 23.12: Blocking in an artist table on a new layer.
Continue to refine the shape of the table and integrate it more with the figure, as shown in Figure 23.13. Use some of blending techniques described in Chapter 11 to help smooth out our strokes but, once again, do not worry about painting in lots of details at this time.

Figure 23.13: More work on the table.
Add some lighter colors right on the edges of the tables to start to give dimension and a feeling of where the light catches in the nicks and dents, as you can see in Figure 23.14. It is important to add this touch of realism to any fantasy painting.

Figure 23.14: Nicks and dents on the edges of the table.
Create a new layer above the table layer. We will paint the paint-mixing pots and the artist's canvas on this layer. Sampling colors from within the image, paint a rough canvas and rough pots and pails, as shown in Figure 23.15. Save the image with the next number in the sequence.

Figure 23.15: Painting on the canvas and pots on a new layer..
Continue to work on the kettle on the floor, the cup, canvas, and plate on the table. It is particularly important to notice the left side of the cup as we have taken blue from within the robe and painted the reflected light using these colors. The more we can use colors from differing areas in the painting in other areas, the greater our color harmony will be. As you can see in Figure 23.16, we also begin to add some designs for visual interest to the kettle and have also continued to refine the table on its layer.

Figure 23.16: Adding reflected light in the cup and additional detail in the kettle and table.
We make the first editorial change. The paint on the paintbrush looks a little too much like blood, so we change it to green, as you can see in Figure 23.17.

Figure 23.17: Changing the bloody color of the paint on the brush to green.
Switching back to the robe layer, continue to refine the costume with more intense color using the Airbrush Pen Opacity Flow brush and blending the colors as they are painted. Paint in the beginnings of the sandals that the Wizard is wearing . We then switch to the face layer and make a change to the character's right hand, making it less a fist by extending the middle finger some. Because we have the figure on a separate layer, we do not have to worry about disturbing the underlying painting. Layers make corrections and changes so very easy. By using the blending technique, we make sure that there are both hard and soft edges throughout the painting. The results are shown in Figure 23.18.

Figure 23.18: More work on the costume and changing the gesture of the hand.
Staying on the face layer, we bring the painting of the face and hands to about 80 percent finished. We can do this at this point because we now know for the most part what the completed image is going to look like. Figure 23.19 gives you a closer look at how much more work we have put into these areas.

Figure 23.19: A significant amount of work has been done in the hand and face layer.
Figure 23.20 shows the whole image at this point in the painting process.

Figure 23.20: The whole image with lots of work done in the face and hands.
We begin to add some of the smaller details in the costume, as shown in Figure 23.21. All of this work is done on a new layer just to make our lives easier should we decide to make changes later in the painting process. We switch back to the robe layer and make a significant change to the Wizard's costume.

Figure 23.21: Adding decorations to the costume and making a major change in the costume itself.
Because we are making this change on an independent layer, we need not worry about affecting either the face layer or any of the background. If you want to be sure that you will stay in the boundaries of the painted areas, check the small checkered box at the top of the Layers palette as in Figure 23.22. This box is called Lock Transparent Pixels and does just what it is labeled. This prevents you from painting any pixels that are currently transparent.

Figure 23.22: The Lock Transparent Pixels box.
While continuing to paint on the robe layer, we work a significant amount on the bottom of the robe and the sandals the Wizard is wearing, as shown in Figure 23.23. We are not really relying on the original sketch at this point anymore. You can continue to leave the top sketch layer hidden or delete it at this time. All of our painting has pretty much covered any of the original image on the background. We will go ahead and merge down the gradient-filled layer onto the background. Be sure to save the image again.

Figure 23.23: More painting in the robe and sandals.
As shown in Figure 23.24, lots of little work is now being done on the various layers of the image. The beard is rather dark, so we start to add lighter whites to it up by the face. Up to this point, most of the painting in the beard has been fairly blocky without trying to imitate the flow of the hair, so we also start to use strokes that are a bit more like wisps of hair as we paint into the beard. On the layer where we have been painting the decorations on the robe, we add additional decorations hanging from the belt. The overall feel of the painting is not too bright, so we will also add some intense colors representing paint on the sides of the kettle and in the bowl on the table. Use short strokes around the jewelry and longer strokes as you get farther from the face.

Figure 23.24: More work on the beard, decorations on the robe, and paint on the kettle and bowl.
Reestablish some of the folds in the fabric. Add the little face amulet that is hanging from the belt. Don't paint it in completely at this point; just indicate it. Use the blending technique to smooth out the roughness of the canvas leaning against the wall sitting on the table. Go into the background layer and add a large crack going across the image. Notice that the placement of the crack is not random, and its ends lead the viewer to our center of interest, the Wizard's head. Begin to clean up some of the edges of the objects on their individual layers. This can be done using a combination of brushes and the Eraser tool. All of this additional work can be seen in Figure 23.25.

Figure 23.25: Work on the background layer, adding a large crack.
Using shorter and choppier strokes, paint some textures into the background to give it some interest. As you can see in Figure 23.26, we try to give the wall a sense of depth and a slightly carved feeling. A bit of work is also done on the floor.

Figure 23.26: Adding a hand-drawn, slightly carved-looking texture to the background.
We have been ignoring the floor and kettle up to this point, so let's start to give more definition to the kettle sitting on the floor and try to anchor our Wizard onto the floor by refining the painting around his feet. We also add the strings that attach to the amulets that are hanging from the belt. Figure 23.27 shows the results.

Figure 23.27: Painting the kettle and around the feet of the Wizard.
On a new layer, we add the shadows of the amulets onto the robe to help give a more dimensional feel. As you can see in Figure 23.28, adding these shadows brings the amulets out and away from the robe, adding a touch of dimension.

Figure 23.28: Shadows are added to the amulets hanging from the Wizard's belt.
Going back to the face layer, we paint the beard and bushy eyebrows to almost a complete finish. Using the same colors, we go to the layer with the staff and paint some of the cords around the top of the brush, as shown in Figure 23.29. The last little bit of finish work on these areas will be done in the very final stage of the painting.

Figure 23.29: The beard is almost finished.
Overall, we feel the painting is starting to look pretty good at this point. All of the major color and compositional decisions have been made and settled. We would like to center the attention slightly more on the head of the Wizard and give a little more richness and contrast to the overall image. To do this we will use a technique that we have used before. Create a new alpha channel and fill it with a radial gradient, as in Figure 23.30. The black area should be right over the Wizard's face.

Figure 23.30: The new alpha channel.
Load this alpha channel as a selection, and for each layer of your image, copy and paste a new layer. You will end up with layers that fade from the image at the edges to nothing where the black of the original alpha channel was located in the middle. Set the blend mode for each of the layers to Multiply and adjust the opacity to your liking. This loosely mimics how light works in nature in that it gradually becomes darker as it moves away from the light source. While the Wizard's face is not the actual light source, we can use this phenomenon to lead the eye where we want it to rest. What you will have as a result is an image that fades from a little darker and richer at the edges to what is the original image right over the Wizard's face, giving a visual focal point. Figure 23.31 shows the resulting image. Hide all of the layers and methodically unhide each layer and its corresponding Multiply layer, and using the Merge Visible command, merge each pair of layers. At this time we merge the costume, head, and hands, and any other layers associated with the figure. We do this because we want to start the final finish work on the figure, and it is easier than switching back and forth between different layers.

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.
Some major work is under way at this stage. We are trying to finish the robe starting with the hat and working down. Slightly lighter hues and values of blue are painted into the hat and top part of the robe. Careful attention is given to the edges of the robe. A canvas pattern was applied to the canvas on the table using the Filter/Texture/Texturizer filter. The results were too noticeable so we use the Fade command under the Edit menu. That was still not very successful, so we begin to paint over the canvas again. One of the beauties of working digitally is the ability to experiment without the worry of ruining your whole image. This is a good case with that face. Though the texture on the canvas really didn't work, it is easy to change our mind because the rest of the image is left untouched. Figure 23.32 shows the image with these modifications.

Figure 23.32: More finish on the robe and the canvas mistake.
We make another major change at this stage of the painting. The Wizard's hand on the staff just does not look right so we will move it. One problem: we merged both the costume and head and hands layer. If we had decided to move the hand a few steps earlier it would have been easier as each was on its own layer. Fortunately, the figure is still separate from the background layer so moving the hand will not involve too much work. Make sure that the layer with the figure on it is the active layer. Select the hand using the lasso tool. Either cut or copy the hand and paste it back into the image. Paint the costume up to the pasted hand on the original character's layer. Save the image so that you will have a backup image just in case something goes wrong as you merge and paint the repositioned hand and figure layers. When you are happy with the results, merge the two layers as shown in Figure 23.33. Continue working to finish the robe. At this point, it is almost finished down to the waist.

Figure 23.33: The repositioned hand.
Continue to finish the robe and sandals, as shown in Figure 23.34.

Figure 23.34: Additional work on the robe and sandals.
Finishing is the hardest thing with any painting. At the start the possibilities for greatness are endless. As you paint, decisions are made and sometimes the painting starts to not look as good as you had hoped that it initially would. This is invariably about the spot where we start thinking that the image is never going to look good, and our discouragement runs high. All you can do when you reach this point is continue to carry on and paint. To stop and start something new is counterproductive to actually learning something. You might be surprised but you do learn quite a lot during these hard spots. This does not mean that the image will be beautiful and will become your masterpiece but only that you are learning something valuable for this project and future ones. Our painting looks all right but does not have that sparkle we had hoped it would. What to do? Sometimes when we get to this point it is good to reward ourselves and add some eye candy to our painting. Create a new layer and add the stars to the Wizard's hat and gold trim to his collar (Figure 23.35). Sometimes small touches such as these will revive our vision and encourage us to continue and finish the piece.

Figure 23.35: Stars and trim added to the costume.
Continuing with the idea of adding some eye candy, we add some rings to the Wizard's left hand, as shown in Figure 23.36.

Figure 23.36: Painting some rings on the Wizard's fingers.
Ugh, it has been some time since we have worked on the painting and upon opening the image the Wizard's right hand looks enormous . Not only that, but it is almost centered within the image. While we want the hand to be larger than normal, this is just too large as it is currently painted. Fortunately we do not need to repaint the hand to get it the right size. Once again, painting digitally has saved us a significant amount of work. So, select the hand on the figure's layer, cut and paste the hand back into the image, and scale it to suit your preference. In this case we feel that about 85 percent of the original size is good. Merge the two layers and paint in any of the robe that needs to be repainted to fit the new sized image. Figure 23.37 shows the result of our cut-and-pasting operation.

Figure 23.37: The hand is resized to a more pleasant proportion.
Create a new layer and add a very subtle pattern over the entire background, as shown in Figure 23.38. We don't need to be extremely careful about where we paint the texture because the layer we are painting on is under all but the background layer.

Figure 23.38: A very subtle texture added to the new layer on top of the background layer.
Using the Chalk 44 Pixels brush and on a new layer, paint some modern art on the canvas behind the Wizard. We could paint any type of image we wanted, but there is something very fun about the contrast between a painting so modern against such a medieval character. Figure 23.39 shows the results.

Figure 23.39: A little modern art added to the canvas in the background.
Additional gold trim is added to the robe. This is done on a new layer just in case we do not like the look, but when we are satisfied, immediately merge the two layers into one. The new gold trim can be seen in Figure 23.40.

Figure 23.40: Gold trim added to the sleeves of the robe.
The metallic bowl on the table that was painted over in earlier steps is repainted on a new layer using the Airbrush Opacity Flow brush. Figure 23.41 shows the result.

Figure 23.41: The metallic bowl is repainted on the table.
Using the same brush but in smaller sizes, paint the wet purple paint into the bowl with some drips running down the side of the bowl and dripping off the edge of the table, as in Figure 23.42. If we are feeling brave, we can paint these details onto the previous layer, or if we are not as brave, do this on another new layer.

Figure 23.42: Purple paint is painted into the interior of the bowl.
The kettle and cup are finished, as shown in Figure 23.43.

Figure 23.43: The kettle and cup are finished.
The green drips on the kettle, the pinky ring on the Wizard, and his fingernails are now added and finished. We are at a point in our painting where changes are very small and mostly consist of adding the tiny details and cleaning up previous work, as shown in Figure 23.44. For the most part, the work is fairly simple and does not take a lot of explanation except for indicating where the painting is taking place. The remaining steps will be simple descriptions of what is painted, and where.

Figure 23.44: Green drips, the pinky ring, and the fingernails are painted.
A few final touches on the kettle are added in the light side right by the green drips, and the head amulet is finished (Figure 23.45).

Figure 23.45: Some final touches in the kettle and the finishing work in the amulet.
A new layer is added and a lighter texture is painted over the floor area. The Eraser tool is then used to remove any of the painted texture that covers any of the figure or props that sit on the floor. The orange tassels of the belt are painted in with more care. Figure 23.46 shows the resulting image.

Figure 23.46: Texture added to the floor and the orange tassels of the belt are painted.
A rainbow to symbolize the magical aspects of art is added coming from the Wizard's fingers. Creating the rainbow is much easier than it looks. Simply use the gradient tool with a rainbow gradient selected in a radial gradient application. It is important to have transparency at both ends of the gradient so that the rainbow maintains its shape. The gradient used to make this rainbow is located in the folder for this chapter on the CD-ROM. It is easier to draw the gradient in the middle of the new layer and then move the layer so that it is positioned correctly. Using the rectangular selection tool, select the bottom half of the rainbow and delete. You are now left with a very intense rainbow starting at the Wizard's fingers and leading off the canvas, as in Figure 23.47.

Figure 23.47: A very intense rainbow added to the image.
The rainbow is way too intense. Let's make it more in harmony with the image. To do this we apply a Gaussian Blur under the Filter menu. Play with the slider settings to get the look you are after. This particular rainbow has a blur setting of 18 pixels. Once we have blurred the rainbow, decrease its opacity in the Layers palette to about 50 percent. The results are shown in Figure 23.48. Save your image.

Figure 23.48: Blurring and decreasing the opacity of the rainbow.
The image is for the most part complete at this point. We are going to do one last thing and that is add some sparkles off the end of the Wizard's finger. To do this, create a new layer and paint a few sparkles using a customized airbrush. Customize the brush by changing the scatter, size variation, and hue jitter until you get a look that you like. If you don't want to customize your own brush, use a brush set called Sparkles in the folder for this chapter on the CD-ROM. Paint a number of sparkly dots and change the blend mode of the layer to either Vivid Light or Linear Light to increase their intensity. Figure 23.49 shows the image with the sparkles added; this is also the final image.

Figure 23.49: Sparkles added and the final image.