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- "Making of Work Makes One Free" by Brian Recktenwald
With having a traditional art background most of my digital work has been primarily 3D, with only compositing and
colour correction using Photoshop. But with this project my goal was to rely on both 3D and 2D elements equally, creating a true hybrid piece that would utilise the strengths of both approaches.
- "Making of Transformers Deathblow" by Alon Chou
Planning the work, I wanted to bring out the tension and conflict as a priority, which led me to an explosive duel
scene that would draw audiences into the work. What troubled me was deciding whether the duel should take place during the day or night. In the end I picked daytime, meaning that my background would have a strong contrast and variation of lights.
- "The Taming of Naas" by Christophe Vacher
Since my personal work has been known to the public mostly through traditional mediums (such as oils and acrylics), people are often surprised when I tell them I also work digitally, and that most of my book covers are now done in Photoshop. The digital media is not new to me; in fact, I started to use it when I was doing concept artwork on
“Dinosaur”, in 1996.
- "Making of the Howling" by Roberto Campus
This Photoshop and Wacom tablet tutorial was originally published in the Digital Fantasy Painting Workshop book, by Ilex Press (www.ilex-press.com). The tutorial explains how I created the ‘Howling’ digital painting illustration. The image features an angry demon ripping the heart out of his victim’s chest (beware: nudity). The tutorial provides detailed instructions on the Photoshop brush settings that I used to paint the image.
- "Making of Superbad" by Mike Thompson
My painting of Michael Cera, titled “SuperBad”, was actually created as part of a pitch for his new movie, Youth Revolt. The client wanted to persuade the studio to use an illustrated poster for this film, rather than the usual photographed
one sheet. The direction I was given was to keep the art vibrant and make sure that Cera looked as nerdy as possible. They wanted a MAD Magazine type of look, minus the distortion.
- "Making of Funfair" by Daniela Uhlig
I like my pictures to describe funny or strange situations, such as in my picture, ‘Funfair’. The idea of the funfair
came about when I was sitting in the park on one of my lunch breaks. A friend and I were eating ice-cream when a
small insect landed on hers... Her face instantly turned into a funny grimace and I just had to hold on to that facial expression by drawing it!
- "Making of Renaissance" by Marco Bauriedel
The base image was provided and initially had to be cleaned up before anything else (Fig01). The second stage was
to create an extension of the image, following the concept of leading on to a matte painting in which the National
History Museum would be set in a natural environment, as if in existence sometime in the future.
- "Making of Finding Unknown Kadath" by Sergey Musin
The Dream-Quest of Unknown Kadath” is a story about Randolph Carter, a mystic who has the ability to enter a
fabulous world through his dreams. Carter isn’t content with merely shuffling about a dream world; he wants to
track down Kadath, a fortress where the gods live and play. Carter’s quest takes him through endless adventures
where he faces both good and evil realms.
- "Making of Self Portrait" by Dominus
I think that every artist has done a self portrait at some point or other, as it is the closest thing you have for reference: yourself. It’s a challenge and it shows in the end how you, the artist, see yourself. I’ve done just a few self portraits
in the past; mostly I work freelance on character concepts and illustrations which leave me with little time for myself....
- "Making of Cold Sky" by Vlad Kuprienko
One day, I decided to create a picture called “Cold Sky”, and after a few test renders I saw that Carrara couldn’t give
me the desired mood. Having done a lot of sketches using Painter in the past (I love this application!), I decided to
give it a try...
- "Making of Lave Swimmer" by Andrew Hou
This Making Of has been created to show my work process and thoughts whilst I was working, and I hope this will be of some help to others. Here are the brushes and textures that I used for this piece...
- "Making of Summon Infinity" by Lauren K Cannon
I am not a talented draftsman; my initial sketches are always completely embarrassing, but I know I’ll have time to
fix things later. Right now the concept is important - finding the right canvas size, colours, and composition. I’ll have
time to fix the “god-awful” anatomy later on.
- "Making of Taishu" by Joe Slucher
During the conception, I’ll frequently begin the process by writing rather than drawing. I’m the type of person who
likes organisation, timelines and routine. Rather than start with all the freedom in the world, I prefer to give myself
boundaries. There’s a saying, “the narrower the stream, the faster the current,” and it certainly applies to my process.
- "Making of Another Rainy Day" by Daarken
In this tutorial I will be showing you how to paint a rainy day scene without having to paint any weather effects, but
rather the feeling will be conveyed purely based around colour, mood, and some reflections on the street. I took the photograph on the right myself, a long time ago.
- "Making of Hecate" by Xiao Bing
Hecate is the Greek Goddess of the crossroads Wilderness and Childbirth. She is usually seen with two ghost
hounds that were said to serve her. Today she is often seen as a goddess of witchcraft and evil. Hecate is said to
haunt a three-way crossroad; each of her heads facing in a different direction. She is said to appear when the ebony moon shines...
- "Making of Rejuvenator of the Human Flame" by Ivan Mijatov
The evolution of the world involves the success and failures made by people, and nature’s other inhabitants and resources. The same proves true when applying this context to art. The evolution of my art (and most likely anyone’s, I believe) is partially based upon the mistakes that I have made and have learned from, which are all going forward to evolve into successful triumphs.
- "Making of Under the root, my Kingdom" by Oliver Heban
To put this piece into context, I should talk about the story in which the scene appears. The story is from “Nausicaa
and the Old Tree”, a children’s tale which has a sad mood and a very tough ending for the little girl, Nausicaa (but don’t worry, there is hope for her). The illustration is of the only lit scene in the story; a sweet afternoon at the beginning of summer. We see Nausicaa seated under a huge root of “Vieille Branche” (the name of the old tree), on a flower bed, sun-kissed by a beautiful, golden atmosphere.
- "Making of the Spanish Girl" by David Munoz Velazques
The first thing I did was to have a look for some fine-art references, to gain inspiration for this kind of painting. I did a
few tests, specifically thinking about the face...
- "Making of Ply - Spell" by David Munoz Velazquez
This image is the design of a Role-Playing character; a Warrior Wizard. For those of you who may not be familiar
with the term, “Role-Playing character”, a Role-Playing character is a character in a game with which the participant assumes the roles of the character and collaboratively creates stories...
- "Making of Pitch" by Jesse van Dijk
In order to practice and improve on certain aspects of painting I often do quick sketches with a specific theme or
subject matter. The drawing "Pitch" was one of these 'test-paintings'; I started working on it with the intention of
creating a very complex scene, but not over detailing it. Detail in the wrong place can hurt the overall picture, as it
distracts the viewer from where he should be looking instead.
- "Making of Dragon" by Sandro Nunes
The finished size for of image was 3338 x 4450 pixels. I worked with only two simple brushes. For the first Brush
I selected the ‘Airbrush Soft Round’, changed hardness of 0 to 100% and deactivated the Airbrush Button (Fig.01).
The second Brush is only one Spatter (Fig.02).I used brush 1 mainly for sketch and general composition, the brush 2
I used more for the finishing and also to create a little of the texture in the image.
- "Making of Spray It" by Peter Chan
I always rough out my compositions for my images first so I can get a feeling of the final image in my mind before
starting any work on the piece. So here in Fig.01, I did my composition study, and then moved on to rendering the
girl in the pencil sketch to achieve the 3D form of the figure. I continue to achieve a sense of the pose and structure
of the figure, with both lines and shade, until I am ready to scan it in and work digitally.
- "Making of Beautiful" by Nasrul Hakim
In this piece, I used a greyscale colourization technique. ‘Colourization technique’ is a computer-assisted process of adding colour to a monochrome image or movie. The process typically involves segmenting images into regions and tracking these regions across image sequences.
- "Making of Alien Priest" by Emrah Elmasli
Firstly, I open a new .psd file in Photoshop. It will be vertical, and the resolution will be 150-200 ppi. I generally start
with a lower resolution and ramp it up later when I’m detailing the illustration, enabling me to work faster and
smoother. I create a textured background before starting to draw, so I get rid of the white background. I open a new
layer and start to sketch with some thin brushes, as though drawing with a sharpened pencil.
- "Making of Fountain of Hell" by Andreas Rocha
One day I was taking photos around Lisbon, and I came across some beautiful stone statues in the middle of lakes
set in some of the city’s most beautiful parks. Later, I came across another fountain in a square, which had three of
those classic angel-like figures standing below.
- "Making of Set Out For Lover" by T.G Jay
In the deep forest, there are some tree guys. They live happily, but some of them are interested in the world outside.
So is Melody who is Jay’s Lover. She left for the mysterious world and told Jay that she would come back when sun shone in the dark forest. Several years later, sunshine lightened the whole forest
- "Making of The Babysitter" by Roy Stein
Hi, My name is Roy Stein, and I’m a 3DArtist/ Compositor and illustrator working in an American\Israeli animation
studio in Israel. In this tutorial, I’m going to show you how I use Texture manipulation in my painting process, in
order to help achieve that realistic, messy look, which is quite difficult to get just by mixing colors in a painting
program, not to mention it gives you the ability for shorter deadlines..
- "Making of Jealour Bodyguard" by Andrew Berends
Jealous Bodyguard is one of ten pieces for a self promotion project that I am currently compiling called
“Companions.” Each image within the book refers to people and animals from an imaginary place focusing on the relationships between the human inhabitants and the local wildlife. “Jealous bodyguard” was created with the idea
of an animal used for protection as well as companionship for a young, regal, woman...
- "Making of Angel Attack" by Daniele Bigi
In this making of I will not describe all the passages that brought me from the sketch to the final image. There are
many artists better than me that have already described that several times. What I will try to describe is primarily the process that brought me at the composition and colour palette choice. Not all my choices could be easily rationalized
but some of these were and I will try to explain them...
- "Making of The Hidden City" by Adrain Baluta
This image was made for ‘The Lost World’ challenge. I think a hidden city is a lost world, and so I created one on
an island – a city hidden by big rocks. I also wanted to feature a ship discovering the place...
- "Making of The Leg" by Denis Zilber
First of all I’ve made a quick sketch in Adobe Flash. Why Flash? Well it’s a matter of choice. Maybe the main reason
that vector-based sketch is very scalable and easy to edit. I drew 5 characters, each in its own layer, placed them so
they remained groupped but still their faces wouldn’t be....
- "Making of Blue Dragon" by Andrew Hou
The final image, probably my first attempt in a long, long time to colour something in Photoshop, been too
comfortable with Painter. I got too scared with Photoshop’s brush setting and the way the colour mix in PS that I
always stick with my Painter. Lately I see a lot of inspiration of awesome work done in Photoshop that still gave...
- "Making of Seheiah" Melanie Delon
In my artwork, I generally try to express a feeling, to tell a story… Seheiah is a bit different. I had been asked to
illustrate August for a publishing firm. So I based my artwork on the idea of a kind of goddess in an antic style. I
wanted it to depict a quite “fresh and radiant” feeling, a reminder of a summer morning. Thus I decided to include
a wood with a lake above which my goddess would fly....
- "Sirens" by Jimi Benedict
My approach is not as scholarly as most. Sometimes while practising/doodling, I will like the doodle enough that I
will want to see it realized into a full painting. The Sirens image was originally three individual sketches from my figure drawing practice sessions....
- "The Park" by Daarken
The goal of this tutorial is to give you some insight into my process and to show how you can achieve a believable illustration using color and value as opposed to concentrating on rendering....
- "Making of Faydrums" by Benita Winckler
I did this some time ago, looking at it now, there are some parts I would do different. But I’m still happy about the
overall mood of the image. The whole piece is based on one of my ever returning dreams; shining green water
and a forest full with trees, older then the first big cities.
- "Making of Pat the Pirate" by Partrick Jensen
Half of what makes form, compositions, and lighting work is values. So if a painting with multiple light sources,
or a complex mood and palette throws you a curveball and prevents you from just painting, try concentrating on
just three values, because you can always add the tricky colors later...
- "Making of Lord Fredrickson" by Dominus
Lord George Henry Fredrickson. Mid to late 1800’s. Lord Fredrickson is a Lich hunter & Master of the Occult of
some quiet acclaim in certain discerning circles. By nature he is a reserved man, brutally intelligent, quick in
thought and often in action, but never reckless....
- "Jade Fox" by Benita Winckler
Deep under the surface of a long forgotten place.. the steps, the stoneplates of the floor are broken and the
inscriptions on the signs are long gone and unreadable..
- "Pier Duty" by Graven Tung
Hi everyone, my name is Graven Tung. This particular piece is a simple study that will hopefully explain some of
the thoughts and techniques during my painting process. I’m usually not in the habit of questioning myself why I
do things a certain way. In fact this is the first time I’m asked to paint for a tutorial, so bear with me here.
- "Fresh Meat" by Andreas Rocha
One day, on my way to work I decided to make a small detour on my way to the subway and took a walk through
one of Lisbon’s most charismatic parks. It was a cold February morning, no one was in sight and the sound of
morning traffic was subdued by the trees. I was immersed into a natural environment and it almost seemed
magical. Suddenly, I passed by some trees that really....
- "Making of Boudicca 3060 A.D" by John Kearney
Hello and welcome! This article will provide you with a walkthrough of my experiences during the creation of this
project. I have narrowed down my creative journey into 6 stages. I hope that you pick up some useful tips and find
it entertaining and informative. Without further ado, here is an insight into the 'Making Of' Boudicca 3060 A.D.
- "Equilibrium" by Henning Ludvigsen
I’ve always been fascinated by realism, and because of this it is really important to me that the base line-art
sketch has got proper proportions. I usually use the old trick by putting a grid on top of a reference photo I’ve
shot, and thenI copy the same grid onto a blank canvas and start drawing grid by grid from what I see on the
reference photo.I make sure to keep the grid on....
- "So you think I'm fat do you?" by Daniela Uhlig
First of all I open a new document (approximately 3000 wide and 2600 high, around 300-500 dpi) and make a preliminary sketch.
- "Do you want to play with me?" by Melanie Delon
The first thing here, is to choose the right colour scheme. This will depend on a lot of things, like for instance the
mood or the story that you wish to tell... I wanted to do something really colourful and warm, so for the character I
choose some very saturated orange, mixed with yellow and pink, the background will be colder.....
- "Wake up baby" by Jose Manuel Oli
This is the part that I consider as most important in the process of creating an image.These are the first sketches
and different variations of the same idea. I indepentantly developed each character design, and take the same
dedication for each individual characters personality....
- "Fantast view of Budapest" by Kornel Ravadits
The following article is a short making of "Fantasy View of Budapest” and is most useful for those who already have an intermediate or advanced knowledge of Photoshop. Note that this is not a PS tutorial but a walkthrough of the creative process containing the main steps of my workflow which hopefully inspires other artists.
- "My World" by Kuang Hong
Outstanding illustrations are filled with creativity, plan well before you start on your draft. Know what you want to
convey to your audience through the picture, your ideas, concept, color, worldview. Don’t let your illustration
become an anatomy drawing from the biology classes, use your unique.....
- "The Bird Catcher" by Matt dixon
Here I'm going to try to explain my Photoshop painting process, from first doodle through to a finished painting. As
I go along, I'll detail both what's happening on the canvas and what's going around my head. I'll be working on a
2480 x 3508 pixel canvas ( A4 at 300dpi ). This is a high enough resolution should I ever want to print or publish the image in the future, but also fits nicely on my monitor at 25% magnification.....
- "The Corridor" by Richard Tilbury
This particular scene was designed with the intention of making a 3D version which would hopefully have a little
more clarity after having been explored as a 2D digital image first. My aim was to create a scene that relied more
on light and textures as opposed to geometry. I therefore opted for a simple....
- "Return to The Fire Escape" by Daarken
I decided that for this tutorial I will be adding a lot more detail shots throughout the process so that you can get
a better idea of how loose my brushwork really is. A lot of times when people see my work they say “that is a
photo” or “he painted on top of a photo,” which I think is funny because my work is actually quite loose. I wanted
to show that you can achieve....
- "The Fire Escape" by Daarken
The first step in all of my paintings, whether it is a character or an environment, is to lay down the basic shapes.
These shapes become the building blocks of the illustration, and without them it is easier for your illustration to
- "Making of Cigar" by Willaim Chen
This is more a step-by-step of showing the way I work than a "how to" technical tutorial, not sure if it makes any
sense to you all, so please let me know if you want to see more contents with technical skills ect. That maybe I
can balance it better by next try.
- "Matte Painting using Hybrid Art" by Antonis Papantoniou
Digital creative tools are dynamic and constantly evolving. Recent software and hardware advancements have
given rise to the term of hybrid art. This term is also known as 5D art (2D + 3D), and it refers to the disappearing borderline between 2D and 3D art.
- "making of The Turning Point" by Justin Kellis
Sometimes when I sit down to do a painting I'll have been thinking about it for some time in my head about what I
want the subject of the painting to be, what type of setting and lighting etc. However for this particular painting
all I knew was I wanted to do a picture of a Mermaid.
- "Paining Rock" by Gregor Gorsic
In this tutorial, we will exercise on drawing rocks, stones, cliffs or anything made of stone. There are many ways
to achieve this... I will just show you my favorite one. depending on their structure, rocks look very different. For
this tutorial I decided to make sharp reefs in the water ... but you can use the same technique for anything stoney
- "Colouring Hair" By M. Beatriz Garcia
I'm going to show you how I coloured my character Alicia's hair on my New Year picture....
- "Brush the difficulties away" by Rolando Cyril
That's a tutorial for photoshop 7. What I call "Set of Brush" (brushes with different values of opacity and flow) is an easy way to caricature the best use of each brush (my use) this doesn't mean this is the unique use. Of course, you have to mix the sets ( b, c, d...) when you draw. You won't use one set by drawing!
- "The making of Macaw" by Waheed Nasir
Hi there, I have chosen one of my own digital paintings, “Macaw”, for this step-by-step demonstration. Here im
working in Artrage, to have a painterly look. Working in Artrage is like doing a real painting, one has to do things
manually and that’s what I love about it.
- "making of Dawn" by Robert Maschke
Hello and welcome to my first little walkthrough! Recently, a lot of people asked me to write a tutorial - and why not
as i have some spare time now and it`s a good opportunity to give something back to the community. I`ll try my
best to give you some insight into my creation process of an environment/cityscape painting. Maybe a futuristic
one? I don`t know yet, i just started the image
- "Thoughts and tips on digital painting and painting in general" by Gracjana Zielinska aka vinegar
This tutorial is actually more a collection of useful tips about digital painting which, I believe, all people starting
out in this area should know.. It’s based on my old tutorial but highly expanded and with many more tips and pictures.
I used the same picture to show the progress although not
- "Matte Painting - The Castle" by Dragos Jieanu
Welcome to a new matte painting tutorial. This tutorial is photoshop based. I'll try to describe the main steps in
creating a matte painting. Before you start it's recommended that you know some basic painting techniques, at
least basic sketching, because most of the time you'll have to fit in the right pieces.
- "Painting Hair" by Natascha Roeoesli
Some basic facts about painting hair which I have been gathering from my own observations or from studying
- "3DTotal Training DVD - Texturing a creatures head" by Richard Tilbury
This overview of 3DTotal's Training DVD Modelling a Creatures Head is a broken down version of the DVD. It wont
give away the key elements of the modelling and texturing process but it will give you a insite to how indepth the
DVD is. Part 1 of this overview will be going over a few steps of the modelling, mapping and unwrapping stages
- "Making of Happiness is a Blue Bird" by Jose Manuel Oli
"Happiness is a Blue Bird that one afternoon settled on our warm palm and left us something like a trace of a lost paradise that never was reached by anyone and that everyone dream with at some moment, sleeping or in wakefulness".
- "Jealousy Step by Step" by Steven Stahlberg
The idea to this painting came when I sat down with my notebook in my sofa one evening, and tried to come
up with something that was both upclose and personal, yet touched on larger issues, such as affairs of state. Preferably involving only two people, because I find that can often be more intense
- "Painting the face of Lilith" by Linda Tso
I did all of the work in Photoshop 7, as far as the face is concerned, Painter 8 was used in the last step for textures
- "Creating a feather" by Katherine Dinger
A step by step walk-through of how I made the feather shown below. I had some problems with photoshop
crashing so I had to redo several steps. That resulted in it not looking quite as good as the original. Oh well,
you get the point. : This is actually my first attempt at drawing a simple feather so bear with me
- "Digital Painting" by Waheed Nasir
I will paint in an impressionistic manner, with no definite shape, I will suggest things, make impressions of
shapes and light. For me, a painting must look like a painting, not like a photograph.
- "Gritty Wall Lights" by Katherine Dinger
This tutorial is sort of a continuation of the Gritty Pipelines Tutorial. You certainly don't have to work on top of the
base wall texture from there, but if you're unfamiliar with some basic photoshop methods you may want to read it first.
- "Gritty Pipelines" by Katherine Dinger
I'm working in Photoshop 7, although there shouldn't be any problems following these steps in other versions
of PS. I also recommended you read up on "Offsetting". I do not cover this in the tutorial, but it is crucial for making
a tiling texture....
- "Dirty Texture" by Katherine Dinger
Here is a very simple, generic tutorial I wrote up for a dirty metal texture. I tried to keep it pretty easy. This is just a
starting point... I'm building off this basic texture and adding things like scratches, errosion, paint and maybe some
create support bars. So if you follow along with this tutorial, be sure to keep it so you can pick up where you left off
- "Digital Painting from an Illustration" by Mike York
For starters this is a tutorial on how to complete a digital painting from a illustration very quickly. My example is a
background design layout. I chose to use Adobe Photoshop 6 but you can do this in version 6 or 7
- "Low Polygon Hair Texturing"by Ben Mathis
Low poly hair is the bane of most game artists existence. Rarely is it done well, and the majority of the time, a bald
head, or a slicked back look is taken as the easy way out. For three months I was in charge of creating the various
hairstyles for Dark Age of Camelots
- "Marsh Dweller"by Gregor Gorsic
I read a book about marsh dwellers recently. It described their lives so well, that new ideas for illustrations appeared
by themselves. With this picture I wanted to represent their life, the beauty of a women’s body and her feelings that
she had, being unfortunately in love.
Painting: Maison hantée" by Sebastien
tutorial is actually a "making of" where
I explain how I proceeded to achieve this matte
I use a Wacom Intuos² A4 board, if you don't
have any graphic board this is going to be hard
impossible. . .
and Hell" by Don Seegmiller
series of images will show the general method that
I used to create my painting "Heaven and Hell".
Each image has a brief description of what was going
on and how I was working. Should you want to see
a more detailed Image, click on the picture and
you will be taken to a larger version. . .
High House" by Don Seegmiller
is a scan of the original sketch out of my sketchbook.
I scan images between 200 and 300 dpi. I take the
into Painter and "equalize" to get rid
of the grays. . .
by Step Tutorial: The Waiter" by Khang Le
had the privilege to attend a class by Ryan Church
a while back. The tutorial below is his painting
I'd learn from the class. . .
Hair Tutorial" by Don Seegmiller
this is not the best hair that I have ever painted,
it will give you a general feel on how I occasionally
approach the subject. On the last page is a link
to a movie with all of the steps combined along
general ideas about painting hair.
- "Capturing Heaven " by Greg Martin
We have all seen the spectacular images that the Hubble Space Telescope and other such observatories have revealed to the world. Their haunting splendor inspires and compels us as artists. The question is, how can we capture the elusive essence space in our own representations of the heavens?
- "Texturing 101" by Dave Wilson
Okay this is a really
simplistic makign of, it's really more of a texturing
tutorial cause I get quite a few questions on
texturing so, I've just take a simple Coke Can and
decided to show you how I textured it since most
of my texturing
follows these principles.
"Custom Brushes - Part 3" by Rickard Johansson
you ever tried building your own brushes in Photoshop?
If you have, this tutorial is designed to let you
explore the two concepts of designing your own texture
brush and your own shape brush. . .
Brushes - Part 2" by Johan S.
to the second tutorial about creating custom brushes
Rickard (who did the awesome first tutorial) and
I decided to create a little tutorial series about
PSP 7 and CS.. . .
Brushes - Part 1" by Rickard Johansson
you use Photoshop (version 7 and CS), wether it
is to paint textures for your 3D-models or for classical
digital art, a really good tool is to build your own custom
brushes. A custom brush can add that special
or help speed up your workflow. . .
Realism: Fur" by Cristina Penescu
alot of people like my Digital Realism technique,
it is strongly advised that if you do not have a
tablet, you should refrain from doing Digital Realism
fur. The repetativeness of this technique can lead
strain and eventually, carpal tunnel, if done with
a mouse, and done too frequently. . .
Realism: Eyes" by Cristina Penescu
tutorial will cover how to illustrate wonderful,
lifelike eyes using Photoshop 6.0. Unlike my older
realism technique, this one is more detailed, and
likewise, more time consuming. For this particular
we will be using mainly one tool, the airbrush.
Ready? Lets begin!. . .
Gizmo Craze-O" by Katherine Dinger
is a walkthrough of how I went about painting the
portrait of my cat. Now this isn't a tutorial mind
meaning it is not ok by me to copy this picture.
Pick apart the steps, take what you will from it...
here is that somebody might be able to find something
helpful in all this, not to have everyone copy my
Hair aka 'Updo-Tutorial'" by Katherine Dinger
considered titling this walkthrough "Fun With
Buns" but something just wasn't right about
This is a 5-step tutorial showing how to paint hair,
this time twisted up on the head. I'm using my own
as a reference. Only basic round photoshop
brushes are used here. . .