For the floor, I gathered some photo textures of cracked concrete and stone and made some simple texture brushes. Using a Multiply layer and some trial and error, I started applying texture and then erased some areas to break up the repeating cookie-cutter effect. Because adding the texture darkened things a bit, I used an Overlay layer to revitalize the green and brown color and then, using a Screen layer, I reapplied the general lighting. Afterwards it was just a matter of smoothing things out following what I had already painted as a guide. As a final step, I reapplied some more texture with lower Opacity to add that finer detail and then a little more painting on top again to avoid that slapped on texture look (Fig.09a - 09f).
Fig. 09a - 09f
Final Touch Ups
Before I finished up, I made sure to apply all of the final highlights. The next stage for me involved a lot of experimentation, basically trying anything that could help enhance the final image as a whole, including Multiply layers, adjusting levels, Color Balance and Contrast. One of my final touches, for example, was to use a Multiply layer and a Soft brush with low Opacity to darken the rims of the painting to further accentuate the lighting of the piece (Fig.10).
Overall, I was quite happy with how this piece turned out. As a general rule, I try to incorporate things I have never done before in each of my paintings. In this particular artwork, I had never attempted stone or this perspective and as always, fabric and the human figure are a big challenge for me. However, having been self-taught, it's nice to see that my constant practice has paid off over the last year in comparing the final product (Fig.10) to my original (Fig.01).
To see more by Liam Peters, check out Digital Painting Techniques: Volume 5