This is my concept art pipeline video,
part 2. And if you have no idea what I am
talking about right now,
please check the first video, where I've
covered pretty much most of the pipeline.
Today we will mostly go through final
steps of doing a concept art. In our
previous video we finished talking about
pipeline when we were talking about line
art. And just to remind you, the most
important thing while you are working on
line art are shapes. All of them should
be closed without any uncertain lines,
which ends just in the middle of nowhere.
It will make your life easier, once you
start to color your picture. Next thing
is color schemes. In this step the most
important thing is to make as much color
schemes as possible. If you remember,
before we were doing three shades value
sketch, so try to keep that in mind. For example,
you want to create a lighter props with
dark details or vice versa: more
darker thing with just tiny shiny parts.
With keeping that in mind you start to
create your color schemes, I recommend
you to make several of them. I start
with more simple complementary schemes,
and then I will do like maybe two or
three of them. Then I try triade scheme,
and then, lately I started to work on
compound schemes as well. I will
leave some websites, that will help you to
create your color scheme in the
description box below. And since you guys
asked me, I will probably make another
video about choosing color for your work, later.
After I did my color schemes,
I will generally mix some of them. So in
the end I end up with something in
between of what I was doing. And then
I start to work on local colors. For this
step I generally use pen tool or
lasso tool, and brush with no pen
pressure. The main idea here is just to
put on every local color, leaving you
no white spaces on your painting,
because if you leave just white
background, it is harder to see the whole
picture of how values work together and
how colors work together. So here this
step is pretty fast and you just need to
cover all of your picture in colors
really fast without leaving no gap. Then
we go to cast shadows and form shadows.
This step is pretty technical, you just
have to think about basic forms like
cube, sphere and cylinder. For this step
I use a layer set on "multiply" and a very
light shade of grey. I find it easier to
work with very light shades, because you
can always go darker. You just gradually
work to that desired value intensity
that you want. And I find it easier for
me to work from light to dark, rather
than going really bold dark straight
into my shadows and then making them
lighter. For this step I generally use a
very soft brush. And for now I don't
really bother myself with the setting
this shadows into some color. I really
work with just grey tones. And you can
always color it later.
Next thing is occlusion, or as you might
find it named in different sources
ambient occlusion. These are the places
on your picture where light does not
reach. Usually it is joint of objects.
I just use this rule of thumb, that the
more stylized my picture is, less
occlusion I will use - the more I wanted
to look realistic, there are more
occlusion I will use. Again, I switch
between very soft brush and sometimes
brush with a harder shape. I, again, work
on multiply layer, but for my occlusion
I go a little bit darker, than I would go
in shadows, in cast shadows and form
shadows. Again,
I do not use any color. It's just a basic
gray. And I will go back to color later.
And the final step is to work on light.
I use very soft brush, using, again, a light
shade of grey. I create a new layer set
on "soft light", I just mark the places,
where light hits the surface of my
picture. This step is pretty easy, because
you've already established shadows.
So, working with light is not a big deal.
After that, when I finished my cast
shadows my occlusion and my light, I go
back to them. And I start to apply "hue
and saturation" on these layers. As you
remember, I use soft light layer and
multiply layers for occlusion and
shadows. I would apply color and certain
hue to them. You just have to remember
the rule of thumb, that I was talking
about in the first video, that: If you
have a light, warm light, then you
will have a cold shadows and vice versa.
Keeping that in mind, I just start to
play with the hue/saturation settings.
Most of the times I would apply hue and
saturation directly to my gray layer.
I do not bother with creating additional
adjustment layers, but that's totally up
to you. And then, after I did these steps,
generally, it's like 80% of work done.
It took you maybe like 50% of time. Here
comes the final polishing. And I find,
that this step, it's only 20% of the job
left to finish it. But it usually takes
me pretty much the same amount of time,
that every previous step took me.
This might be pretty depressing, but
I find that, when I do final polishing, all
of the main decisions are already made,
and I don't really have to think about
it anymore. Usually, when I'm working on
my picture in this step, I would listen
to an audio book or I would turn on
some podcast. I can finally concentrate on
something else outside of my picture. And
all of the final polishing is just this
routine work, that have to be done.
Important things, that you have to keep
in mind in this step, is that we work on
closer and more distant preview, and
I tend to switch between these two pretty
often, because you might work on a really
high zoom, and you might be working in a
really close-up preview for a long time.
Like you were, you know, doing details on
this button, and when you finally take a
look at more distant preview, you see
that all of your hard work did not
really make any difference, because this
button is so small, that you can't really
see it on the final picture. I recommend
you to zoom in and out of your picture
pretty often on this step. If you have
Windows, sadly I cannot really do
this on my Mac, but if you have Windows,
you can make a 2 window preview, and set
close up working zone. And then, on the
separate window, you can have a full
picture, that you can control
simultaneously. Then, on final polishing,
I tend to make all of the edges softer, and
I work with lasso. Often - lasso and
pen tool, to select certain areas.
And then I would go with soft brush. I also
make details with textures, but you have to
remember, that your focal point is
supposed to be the most detailed part of
your picture, and it has to have the most
contrast, so the rest of it is gradually
going to less and less details. And if
you work on props or a character, doesn't
really matter, your gradient will go from
the lighter in your focal point, and then
your colors will go a little bit darker
to the lower part of your character or
props. This way it will help you to
settle your props into the page. To mark
the ground, so to say, and it will help
your focal point to stand out more.
I constantly work and rework my shadows
and occlusion, because if I've done them once,
that doesn't really mean, that they are
already finished. So, if I make close up view,
I zoom in into my picture, I might
change it a lot. And, as you can see on my
speed paint, I really do
redraw a lot of things, because maybe, for
example, I worked on some badge, and then it
became darker, than the whole bag here, so
I have to work on the whole bag again
and again. That's totally fine. This is
what final polishing is about. And
basically, after I'm done, I tend to
postpone final details for some time.
Generally I would do it like this:
I would finish my picture, and I would let
it be for at least one night, because we
tend to have this editors fatigue, when
we develop a blind spot for our drawing,
and we lose the freshness of vision,
because we look at our drawing for a
really long time. In order to help
yourself to keep this freshness of
vision, you just have to look away from a
picture for some time. And this is the
thing, that I tend to tell my students,
that you don't have to send your work to
clients straight away. Chances are, when
you will take a look at it in the
morning, you will see a lot of mistakes
that you can rework, make things right. So
this is my final advice for today. And
this is it. So, if you have any other
questions or any other things that you
want me to talk about, please leave your
decisions in the comments below. I would
be really glad to make future videos
about them. If you like my project, please
support me on Patreon. You can get my PSD
in layers, including this one. And we have
secret drawing talking sessions,
newsletter, and much more. So, I would be
glad to see you there.
Like me on social media. I post my
drawings in steps there, a lot of useful
information and articles, and stuff like
that. Again, I would be super glad to see
you there. This is it for today, guys. Take
care, bye!:)
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