The part behind the structured glass was also formed with theOil brushand the Dropper tool for color sampling. A good reference to help observe light behavior in this area was a piece of textile hanging on the frame. It showed that the darkest areas were those with the closest touch between the glass plate and the object. This is because of the absence of an external light source, or foreground light if you want, and shadows created by interior lights.
To capture the illusion of a distorted image that is created by textured glass in real life I used Effectsbrushes, including the Diffuse Blurfrom a Photobrushesgroup and the Texturizebrushfrom the same category. The Texturizebrushuses texture images from the collection of Papersto reveal the effect. The original Fine Hard Grainpaperwas ideal for the purpose so there was no need to find or create my own texture (Fig.05).
I moved the image back to Photoshop at this point in preparation for the final touches. The effective thing about Photoshop is the automatic updatesfor open-end images in case there are some changes written to the source file on the disk. So, in my workflow, I let the image opened in Photoshop at the beginning and saved the painting from Painterto the same file. This let me continue to work with just a single switch between the applications.
The next step was the final touches. I made the effect of showing something behind structured glass even more pronounced by duplicating a crop of the glass texture from the source photograph layered over in Pinlight mode (Fig.06).
Extra glow coming from the neon lights was painted with a smooth basic brush as a subtle halo effect. Part of the antlers wrongly appeared to be in front of the window, so I covered it with a duplicated crop of an original image with gradient transparency applied to it (Fig.07).
The last step was to use Uniform Noise on the flattened image to emphasize the look of the film frame (Fig.08).
And voila - the image was done (Fig.09).
I am glad the image got some great feedback even though it was a speed painting and its production was therefore fast. I hope this tutorial helps with some workflow ideas for beginners.
About the Author
Juraj Molcak is a freelance visual artist and director from Slovakia. Currently doing graphics in the field of casual games, Juraj likes to focus his personal projects on film and motion graphics and traditional painting. Feel free to check out more of his production at www.molcak.com