I did NOT write these, NOR create any art for these tutorials!!
I take NO credit for them whatsoever!
I chose to mirror them here because the original site died. (gfxartist.com)
These mirrors are completly NON-COMMERCIAL, I do NOT make any money from these, NOR do I EVER intend to!
It's just a shame these tutorials haven't been mirrored until now, many art students have learned great lessons from these since their original posting. (I know, the "gunman" tutorial is mirrored on another site, but without the pictures that go with it, hence why ill make my own mirror, but with the pics)
Im not sure if im breaking any "copyright laws" by mirroring these (i urge you to create your own mirrors, that way they'll hopefully never disappear from the internet (again), but they'll stay up here until I get an angry email from someone who "owns" these tutorials, until then: enjoy!
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Here is an excellent
look into the early stages of Craig's work, beginning at how he
establishes a loose sketch and progresses into how he lays out broad
areas of light and shadow.
Draw your outline or
silhouette in a mask channel so you can use it as a selection to
paint through and behind throughout the process of painting.
Now go to your RGB
color channel and make a gradation like you see here. I have in mind
a dark green picture with a diffuse overhead source. Keep in mind the
type of lighting when you make this grad, as it will direct
everything you do from here on out. Don't go from very bright to very
dark, you can do that later if needed. Of course you can experiment.
Have fun, it can work, this is only one way.
Load your silhouette
mask channel so that your figure is selected. Use the levels or
curves to darken this area. Since you are darkening a range of
pixels, you still have a nice grad in the figure, it is just on a
lower scale.
Inverse your selection
so the BG is selected. Using a paintbrush se to low opacity or using
a wacom, make a few abstract shapes behind your figure to suggest
something behind. I varied the color a little here and there. Keep
the shapes big and general, no rendering yet. You can see that I made
a lighter warmer grad at the bottom to indicate light hitting the
floor. A soft blob for the shadow from the figure. I put in a
vertical circular step to add a little dimension
Inverse your selection
so the figure is selected again. I was losing the outline of the
figure at the top, so I lightened it up a bit with a big soft brush.
It is not really needed, but I thought it might help.
Now the form definition begins on the figure. You have the middle tone created by the initial grad, so now you have to go up in value and down in value to show the form as revealed by the overhead light. So the logic here is a surface that is horizontal is in halftone and will be left alone. The darks are surfaces that face downward or are recessed in between objects or anything that is in shadow. Block these in with nice big general shapes. Do not make them black, remember, we are working from the middle values out, we have not gotten to the dark darks yet.
Now the form definition begins on the figure. You have the middle tone created by the initial grad, so now you have to go up in value and down in value to show the form as revealed by the overhead light. So the logic here is a surface that is horizontal is in halftone and will be left alone. The darks are surfaces that face downward or are recessed in between objects or anything that is in shadow. Block these in with nice big general shapes. Do not make them black, remember, we are working from the middle values out, we have not gotten to the dark darks yet.
Now go a little lighter
than your midtones and any surface that faces upwards gets a lighter
tone. I also added a few more darks here and there. Sometimes going
lighter suggests where your darks can be refined a little more and
vice versa. Work them back and forth. I also changed the basic tone
of the weapons, as the would be of a different material from the
armor suit. A little darker and a little cooler. Then do the darker
and lighter block in procedure on the weapons as well.
Now you can make your darkest darks. The real darks come where surfaces come together and shade each other from all light, both direct and ambient. Also dark surfaces in shadow can go very dark.
Now you can make your darkest darks. The real darks come where surfaces come together and shade each other from all light, both direct and ambient. Also dark surfaces in shadow can go very dark.
Now go up to your
lighter lights and you are about done. Now that all your major values
are about where they should be, you can go on and render till you
drop. I added a little definition of material to the floor. Keep in
mind that you can keep any and all steps on separate layers if you
want. Don't be afraid to work slowly at first. The better your block
in the less noodling it will require later, and if you do detail it
out, it will be on a solid foundation.(for more tutorials go to
gfxartist.com or click here)
vistit Craig Mullins' website: goodbrush.com
vistit Craig Mullins' website: goodbrush.com
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DISCLAIMER! DISCLAIMER! DISCLAIMER! DISCLAIMER! DISCLAIMER! I did NOT write these, NOR create any art for these tutorials!!
I take NO credit for them whatsoever!
I chose to mirror them here because the original site died. (gfxartist.com)
These mirrors are completly NON-COMMERCIAL, I do NOT make any money from these, NOR do I EVER intend to!
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