![]() You can also limit the whole scene to one or two pieces of fruit, to make it all easier. ![]() Of course, you'll need Sketchbook Pro as well. I'll be using the desktop version with brushes from various free brush sets (Basic, Texture, Fur Brushes, Textured Watercolors). You may already have most of them, but to make the whole process more convenient, I've collected them in a set that you can download and pin to the palette. The method I will be using is based on 3D modeling. Each light effect is painted separately in the form of a "map". All the maps affect each other, adding to the final look of the object. The maps I'll be using are shape, ambient occlusion, color, shadow, and shine. This isn't the most efficient way of painting from a reference, but it really helps understand how the image is created, so you can get full control over it-which is especially useful for painting from imagination. I will assume you know your way around the interface of Sketchbook Pro. If not, read this quick tutorial first:įirst, we need some kind of line art. Open your reference in Sketchbook Pro, lower its Opacity a little, and create a new layer. Use the Pencil or the Inking Pen to draw the lines. Normally, tracing isn't a proper way to create art, but today we're studying painting, not drawing. It would be a waste of time to copy all the lines when all we want to learn is coloring and shading. I ignored some objects to limit the number of surfaces to paint.Īnd tracing gives us a clean piece of line art, without any mistakes that could lead to confusion in the later steps. There are a lot of objects in our scene, and each of them will have to be colored and shaded separately. You can do it in two ways: paint slowly, trying to stay away from the edges of other objects, or use Clipping Masks-containing the strokes in a previously defined area. Sketchbook Pro doesn't have real Clipping Masks, but it offers a workaround that we're going to use today. First we need to define the "masks"-the shapes of the objects. Each shape should be painted on a separate layer. Take the Inking Pen and draw the outline of one of the objects. Step 3įill the outline using the Flood Fill tool. ![]() To make the rest of the process easier, the masks should only contain the visible part of the object. You can remove the concealed parts by selecting the object in the front with the Magic Wand tool. and pressing Backspace to cut the selection from the object in the back. You can paint multiple shapes on the same layer, but only if they don't touch each other. Step 6Īfter you've painted all the masks, you may notice there are so many of them that it would be hard to find the one you want to edit. And we'll be copying them, too! To avoid a total mess, let's combine some masks into one layer-select the layers with shapes that don't touch each other, and select Merge Layers in the Layer Menu. All these masks can be safely placed on one layer. There are two more things we can do to keep order in our file. ![]() Second, select all the layers and Group them. Step 9įinally, to turn the painted shapes into functional masks, lock their pixels. How to Paint Ambient Occlusion Shadows Step 1ĭuplicate the group (select Duplicate in the Layer Menu).
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |