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Making Of 'The Confrontation'

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Date Added: 29th September 2011
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Step 7

This step is a bit of a jump I know, but from here on out it was a process of straight forward painting. Just a lot of time and trying to find what I want within the picture. Many additions such as clothing on the figure, details in the rocks, leaves, and trees that helped the image come together. I made the dinosaur much bigger, to heighten the effect of the narrative. Sometimes you just have to push paint or in this case pixels around until whatever it is you want starts to unfold. Another pointer that helps is to really observe what you want to illustrate. Try to understand what it is you're drawing or painting from a color, form, and shape standpoint (Fig.07). Sometimes it's not just about replicating what is in front of you. Several custom brushes were made from scratch in order to make the textures a little more personal, in order to get away from the traditional round brushed look that Photoshop has, nothing against that look since I myself do it like that sometimes, but I wanted something that felt more organic. Many different brushes can be variations of the chalk brush built into the program, tweaked with either shape dynamics, texture or the dual brush options checked on or off. So have fun and just play around with it. (Fig.07a)



Step 8

More painting. Here I added indications of scaly dinosaur skin, and brightened the focal area a bit more. The image overall has a warm overtone to it, something that I don't want so I will fix that later. (Fig.08)


Step 9

Here, I decided to brighten the dinosaurs head as well as provide some sort of ambient lighting to the rest of the ground plane that surrounds the focal area. An overlay layer with a light de-saturated color was applied over where I wanted the light source to be. It's important not to overdo this, since it will look really cheesy and obvious if not done with care. I also glazed over the edges around the painting with a darker color set to multiply in order to frame it, bringing out the composition even more. Doing this allows the viewer to distinguish more clearly where I want their focus to be drawn. (Fig.09)


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Readers Comments (Newest on Top)
David on Thu, 08 December 2011 12:23am
Just great!. Love it...
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