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Color

I added a new layer in Overlay mode and started introducing color. I used the chalk brush and a large airbrush. I tried to do this gradually in small amounts and at low opacities. This helped evaluate each step of the process. The idea to have a large soft glow in the back started to emerge. Instead of the character being in a small repair shop the setting shifted to a factory-like environment. I also introduced the focal point with the Glow brush. This could also have been achieved in Photoshop with a layer in Color Dodge mode. I used a dark saturated blue with a large soft tip. Gradually, I reduced the tip size until I focused on a small point. These glows can really make an image come to life (Fig.04).

370_tid_Fig.04.jpg
Fig. 04

Color Adjustment

I switched to Photoshop for color adjustments. I wasn't too happy about the color scheme so I introduced a red tint using the Color Balance filter. It's always a good idea to try to group areas together, be it through values, colors, detail, etc... Forms were gradually defined with smaller harder edged brushes. I would like to underline that during the whole painting process, I constantly changed between Painter and Photoshop. I love Painter for the vivid brushstrokes, full of texture and movement, but I also love Photoshop for its simplicity and control (Fig.05).

370_tid_Fig.05.jpg
Fig. 05


Depth

The scene now looked too red so I introduced a blue tinted gradient over the shadowed area in the foreground. I created a new layer in Overlay mode. With the Gradient Tool selected (bright blue color to transparent) I dragged it from the bottom to the middle of the canvas to keep the colors in the upper half intact. I then merged this new layer down. To give more depth to the image I used a simple technique: overlapping. It may sound ridiculous that I point this out, but this is a technique often overlooked. Sometimes we are more concerned with perspective and vanishing points, but overlapping elements is a great way to add depth. I also added some structures on top to better frame the subject and gave some hints as to what was happening in the back. I tried to keep these brushstrokes loose as this was not something that should draw too much attention (Fig.06).

370_tid_Fig.06.jpg
Fig. 06



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Readers Comments (Newest on Top)
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Victoriano on Mon, 30 December 2013 10:47pm
es: muy bueno tu trabajo.. (y) en: very good your work .. (y)
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