I’ll have a booth at CTNx again this year and I’m planning on selling some prints from Yuri and the Golden Plum (I’m looking into a way to sell them online after the expo as well). Unfortunately it’s not economical to make prints of every image I have for the project, so I have paired the group down to these images, of which I want to bring about four.
I would love it if folks would leave a comment indicating which image they would like most (1-7). This would be a big help thanks so much.
I’m going to do the same thing with another project next week.
Thanks in advance,
Thank you all so much, I think I’ll need to bring more than 4!
i love 1, 3, and 6 is my favorite, and since those are all landscapes, if i had to pick a portrait, 2 is marvelous. these are stunning.
Firaxis Games’ concept artist Sang Han Sang on how to give your digital art a traditional look and feel. [source]
00. BEFORE YOU BEGIN
Many people have tried using brushes that simulate analogue bristles, but they may not have thought about how the paint is applied. Traditional painters take great care in applying each stroke of paint, which has been thoughtfully blended to the right colour and value on a palette.
Since the digital medium is so fast and forgiving, we tend to dive right in without much thought and noodle around until something happens. I think this leads to muddy colours, and the energy of the initial gesture gets lost.
01. SKETCH IT OUT
I begin with a rough sketch, trying to keep it loose and gestural. It’s difficult to think about design, colour, lighting and composition all in one pass so I break it down into steps and keep it simple at the beginning. These early steps are important because not only are they the foundation for an entire painting, but some of these strokes may show through in the finished work.
02. LAYER IT UP
Here I create a new layer and change the mode to Multiply. I then paint on this layer with a colour that resembles yellow ochre or burnt sienna. This will help to gauge value and colour more easily than if it was a white canvas. I could have simply filled the layer with a flat colour, but again, the painted strokes may show through and add to the final painting.
In this step, I block in the local colours and start rendering. As I do this, I try to remember not to overly blend or noodle around too much, as mentioned above. One of my goals is to retain the energy of each brush-stroke and put paint down with a sense of conviction. Sometimes I put a single stroke down, undo it and repeat this process many times until I’m satisfied.
04. LEAVE MARKS
Keep in mind that you don’t have to render everything. You’ll notice in traditional paintings, certain details are kept as abstract marks. This adds another level of interest to the viewer. As you get closer to the end of the painting, lay the strokes down with lower opacity to give the effect of thicker paint. I like to do this when rendering certain accents, such as highlights.