This is more of a process than "tutorial" but I still hope that it offers some tips :)
The sketch was pre-drawn, this video covers the painting process.
I start by laying down a base background color, in this case a gradient blue.
Then I paint basic background shapes and color. For this image I will need just clouds.
But I ended up painting too much detail...
At this stage, all you need is basic shapes and color to set the tone.
I'm painting a basic lighting scheme to set a palette for the characters.
Much of this will change once the characters enter the frame.
I'm painting on a small canvass in order to assess values and color balance early on.
That was an early greyscale values check.
Building up the lighting palette some more...
Checking greyscale and adding lighter curves to tone down the contrast.
And finally adding base color to the characters...
Fabric, helmet, and skin tones need to have blues and purples from the background.
Notice the white hood is not white - it's actually violet.
I will add white (and gold) highlights later.
Right now I'm focusing on shapes and basic shadows.
I have my sketch on multiply, which I turn on and off for reference.
Now I'm laying down some basic detail...
I flip my canvass often to check symmetry.
Now my focus is to start creating contrast between the background and characters.
Adding detail to clouds with a cloud brush...
Constantly flipping for symmetry check.
For this painting, I'm using 3 main brushes - a square textured brush, a soft round brush, and a cloud brush.
The contrast (values) between the background and foreground are not great right now...
But that will be fixed soon.
Building detail and color on the characters now...
And we gradually see the contrast issue fix itself...
For the skin, I am using gold, purple, and pink hues.
Now my focus is to give depth to the characters by adding more shading...
For the white hood I'm using purple for the shadows and violet for the highlights.
The yellow mask is also shaded with dark purple and blue.
As is the grey helmet - dark purple and blue. To match the background and add depth.
I have visual references for shading and color on standby - I use them a lot.
From here on, I'll be alternating between shading and highlighting.
Checking greyscale and cutouts filter for values again.
Adding highlights now - teal on the helmet and light violet on the hood.
I always add new detail on a new layer.
If I like the results, I merge to the layer below and create a new layer for new detail.
Time to add more detail to the characters.
I'm just outlining the engravings and setting in base shadows.
Using this photo for shading reference only. The character is not meant to look like Knightley.
This mask was very difficult to paint. It will change a LOT throughout this painting.
At this stage, I'm trying to give it more color and reflection.
The reference for this character is Sickick Music. Check him out on Youtube. I will post link in the description.
Blending some of the shadows and highlights now so that I can add the next layer of shading.
With purple, I'm accentuating existing shadows...
Using the lasso tool to apply the color balance adjustment layers.
I want to warm her skin and cool his hood.
I give the characters a pink overlay to pull them more into the background.
Building up the background some more...
Using the lasso tool and curves adjustment layer to up the highlights and shadows in the background.
Then I blur the adjustment layers and blend them in with a layer mask.
Time to add more detail to the female character. She's looking flat now.
Using the sketch, I'm laying base colors for the engravings on a separate layer.
The sketch on the far right is an old sketch of the same character I made about 15 years ago.
Adding shadows and highlights to engravings to give them more dimension.
They are sculpted in relief form so they need to pop.
Time to add more depth to that mask. I need all the help I can get.
Using the sketch, I add a pattern to the blue border around the hood.
Also highlights and shadows.
I set the highlights to linear dodge and shadows to multiply.
Adding some jewels to the helmet. Teal seemed to look the best.
I add contrast to the metal by setting the active layer to multiply.
Right now my focus is on creating depth and contrast...
To add depth to the shadows, always use a different color from the base color.
So for the grey helmet, I'm using dark purple and blue for shading, not grey or black.
And for the white hood, I'm using a lighter purple and blue for shading, not grey.
Hard to tell, but I'm adding delicate highlights to various contours now.
Adding more yellow to the shadows of the mask... They were too dark. They should reflect more.
Adding more depth to hood by adding more shadows.
Again, small canvass helps me assess values better.
Time to polish the shadows and highlights on the skin. They are too muddled now.
I finally realize that I completely neglected this hand...
I lighten the background to create more contrast between the background and foreground.
Adding more shadows and highlights to up the contrast.
I want to make the pattern pop, so adding shadows and highlights to the grooves.
Using curves adjustment layers to add highlights to the characters, mainly the helmet.
Using the cutouts filter to check values again.
Distilling the image to simple greyscale shapes is a great way to check for values.
Time to add more detail to the engravings. They need to pop even more.
I'm trying to add reflections to the mask but it's not looking right... Yet.
Adding more detail to the background... It needs more light and color.
I copied and pasted her face from a previous version because I liked her old lips better.
Polishing up her skin some more. It's looking much smoother than before.
I want to add bolder highlights and shadows now. Again, I prefer to do that on a tiny canvass.
A small canvass is an overall good way to check for values, color balance, and composition.
Just adding some detail to the contours of the helmet.
Adding delicate highlights to the contours of the helmet, engravings, and face now.
And the pattern on the hood.
Adding more detail and reflections to the mask...
Adding a color balance adjustment layer in order to add more teal to the pattern.
Color adjustment layers are a great way to experiment with and adjust colors...
without affecting the base color of the main layer.
Adding highlights around the cloud edges now...
Adding another color balance adjustment layer to the characters...
as well as a blue overlay in order to pull them more into the background.
I'm trying to salvage this mask still... I haven't yet realized that something is wrong.
I only had a pic of the black mask from profile, so couldn't figure out the right colors and reflections.
Adding lighting to the background now so I need a tiny canvass again so that I don't overdo it.
Using curves adjustment layers again to set bolder highlights and shadows to the background.
Used curves adjustment layer to lighten the top of the hood.
Doing the same for the helmet. I wanted the front and engravings to be lighter than the rest.
Now making the dark engravings even darker. I want a lot of contrast on that helmet.
Adding some delicate highlights...
Now need to add a bit more depth to the face and saturation to the skin.
Using color adjustment layer to make the lips more red.
Finally caught on that the mask needs to be redrawn...
The indentations were wrong, and the entire form looked off.
I merge the new detail to the layer below, lower the opacity, and add more detail on a new layer (to be safe).
I do that several times, slowly building the detail of the mask.
Flipping canvass for new perspective and symmetry.
Aiming for balance between the base color & shadows on the mask, which still need some gold in them.
Using curves and color balance adjustment layers to up the reds on mask to match the BG lighting.
Using previous version of mask for color reference. Shape was wrong, but color was good.
Again, using blues and purples, not brown or black, to shade in the dark parts of the mask.
And to shade in the gold parts of the mask, I'm using pink. It adds warmth.
Adding reflections to the contours now in order to create more depth.
Adding reflections to the mask, which was difficult. It required several attempts.
Checking the new mask against the old mask. Definite improvement. I merge the layers.
Accentuating contours on her helmet to make it pop more against the background.
Adding another color balance adjustment layer to her skin.
I use curves and color balance adjustment layers regularly as the palette of the image builds.
Using golds to highlight her skin and contour her profile.
Also adding more shading with reds and purples.
Using this concept art of Lara Croft as reference for how to paint trickling blood.
The blood needs to flow along the curves of the face and body.
Now adding several textures to the helmet...
Using rotation and warp tool to "wrap" them around the curve of the helmet.
I lower the opacity and use a layer mask to blend the textures. They need to look natural.
Adding a different texture for the front of the helmet to give it a chrome look.
Using levels and curves adjustment layers on textures to adjust their lightness/darkness.
Still not fully happy with the mask, so lowering opacity and repainting new detail on new layer.
I realized that I needed to simplify the eye area in order to paint proper reflections.
Overlaying with yellow to give the shadows a golden hue.
Working slowly, reducing opacity and painting over the base layer on a new layer, helped me build the mask with more confidence.
I can only use the photo for shape reference, not color. The color palettes are too different.
So I'm figuring things out as I go...
Using selection tool and curves to up the shading. Curves keep the palette consistent.
Time to add detail to this finally descent looking mask.
Eventually I catch on that the front needs to come forward a bit...
Made a difference, eh?
Time to add texture to Sickick's hood.
Using layer mask now to work the texture into the folds.
To adjust opacity, it's better to use layer masks than the eraser tool, as they preserve the active and base layers.
Adding more texture with a texture brush now... And again, working texture in with layer mask.
Adding detail to some contours, like the shoulder, chin, hands...
Adding some color highlights now to make the lighting more interesting.
Adding more shadows to the hood with a hard texture brush. It works to use a variety of brushes and settings.
Adding some golds and teals to the background now to make the lighting more dramatic.
Accentuating the folds... I want to add more detail but to still maintain the flow of the fabric.
Time to add "real" white to the hood now. It's still a very light violet, but will look white.
I place the highlights on top where the light would hit most.
Need to saturate the blood more to make it more dramatic. This scene is all about drama.
My focus now is on adding more fine detail and building up what's already there.
Experimenting with more textures... Not all of them worked, but it's good to try a few.
Trying final reflections on the mask...
Using curves to accentuate shadows in the very dark places.
Accentuating contours again. Building more detail.
Adding highlights and more strands to the hair...
Using curves to add another layer of shadows and highlights.
Aiming to accentuate what's already there, I'm following the lines.
Also using curves to lighten the background. Background should be lighter than the foreground.
Adding golds, teals, dark blues and purples for even more dramatic effect.
Adding fire sparks manually now...
Using rotation tool to position them in same direction, and motion blur to give them a sense of motion.
Accentuating highlights and shadows some more with a completely new texture brush.
Adding secondary shadows over existing shadows. I think I set this layer on multiply or overlay.
Adding pink and blue highlights to the veil. A variety of related colors add more depth.
Going over the hood with yet another textured brush.
Also adding texture to the band. I have this layer on linear dodge.
And cleaning up the edges around the band to make the hood flow more smoothly.
Adding noise-like texture to the mask now. I think I have this layer on linear dodge or overlay.
I used a "skin" brush for this texture. Same brush I used to texture the actual skin.
Adding highlights and shadows to the contours of the hood and folds.
Again using curves to add secondary shadows. Notice I'm following existing lines.
Adding smoke with a regular round soft brush...
Now using a smoke brush and warping the smoke in the same direction to give it a sense of motion.
I changed the layer mode and color of the smoke in order to match the orange lighting better.
Warping the foreground sparks that I just added, with, I believe, a spatter brush.
Adjusting their direction a bit and manually adding a glow to the big sparks.
Adding gaussian blur to the "heads" of the sparks, and motion blur to the tails to create motion.
Working them in with a layer mask.
Adding more sparks to the background with a spatter brush.
Adding more dark blues to the background and characters for depth and, you guessed it, drama.
I want the characters to have a glow, so I outline their contours with gold, teal and pink...
colors that are already consistent with the background lighting scheme.
To make Sickick pop more from the background, I add highlights to the dark areas of the hood.
Just adding final polishes to the contours of the engravings.
Adding more textures manually to the hood, which I work in with a layer mask.
Fabric has inconsistencies, so it's good to go over pre-made texture layers manually to add imperfections.
Adding pink highlights to the light areas of the helmet. New highlight layer is on linear dodge.
I go over the highlights on the front of the helmet with teal. Layer (not brush) is also on linear dodge.
Adding gold highlights to the skin using a skin brush, and using color balance to add more red to the lips.
I add a gold glow to the contours of her skin to make her pop more.
Adding a slight gaussian blur to the edges of the characters to bring focus to their faces.
Adding noise layer to the helmet. I set it on overlay and lower the opacity to something below 10%.
Working it in with a layer mask...
Adding and warping more sparks in the background...
Adding more teal, gold, and pink highlights to the contours of the characters.
Adding an orange, pink, and blue overlay. I bring the opacity down to about 5%.
Adding various adjustment layers now. I'll post a link to the tutorial I used in the description.
DONE! 50 hours later...
Thank you for watching :)
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