1024programmer Photoshop Photoshop Tutorial: Copying the Black Turkish Mercenary – Mouse Painting Tutorial

Photoshop Tutorial: Copying the Black Turkish Mercenary – Mouse Painting Tutorial

Author: Anonymous Source: Translation: CWWS

In this tutorial, I will show how I copied Gerome Jean Leon’s “Black Turkish Mercenary”. As an artist, I feel that I can learn a lot from studying the works of past masters, especially It is with color that when you try to be a student of the master, you have to note that you cannot simply copy the painting, but inject thought into it, asking yourself why the artist chose this color and not another, and more Many such questions.

Initial Sketch

Since we were copying the work of a master, we had to strictly adhere to the proportions of the image we were trying to recreate, and to achieve this I used a grid reference to make the proportions as accurate as possible. We can overlay a layer of grid on the reference image, then re-create a file, fill the canvas with light gray, and start painting according to the grid one by one, trying to be as accurate as possible. This step is crucial, depending on Depending on how you paint, you need to get a very clear result. If the result is messy, then lower the opacity of the sketch layer (about 40%), create a new layer, and trace a clearer version of the sketch you created before. . Here are my results: (Figure 01)

Figure 01

Drawing Tone

Once proportions are established, the next step is to establish a composition with a strong relationship between light and dark. Focusing on the relationship between black and white allows us to focus on creating a sense of dimension without worrying about color.

I personally think that a successful painting needs a good light and dark composition. You can use any color theme, but if the light and dark are wrong, the piece won’t be successful. The first thing we have to do is select Image > Mode > Grayscale, and you will also turn on the grayscale slider under your ‘colors’ menu (Window > Color). Take all the color values ​​you need in this slider instead of taking the colors directly from the reference image, as you won’t learn anything by doing this, and it will give you an aid in learning that you shouldn’t have. (Figure 02)

 

Picture 02

Start simple and use relatively large brushes in the early stages to avoid getting bogged down in details too early. Laying out the colors from dark to light ensures that, early on, all parts have the same level of detail. In the early stages, turn off the ‘Pen Pressure’ function of the brush to prevent the brush from zooming in and out, thereby preventing you from gaining detail. In other words, don’t put too much effort into the face, and keep the rest of the piece loose, which is what you’ll be fighting for in the final stages.

For transition processing, I usually use a hard-edged brush to draw scattered points to blend, and use lower transparency to make the transition more natural (mainly using a transparency of 25%-50%). For this stage, you You don’t need a lot of layers, just one for the background and one for the character. Keep things simple. When you’re happy with the tone, you can turn on the ‘Pen Pressure’ setting on the brush tool. ), which gives you control over the size of your strokes and makes it easier to draw details. Create a new layer and merge it with the base layer frequently to always keep the project under control.

Here is the finished grayscale image. Even though it is only black and white, the painting looks very finished. It’s a good idea to try to match the reference image as accurately as possible before applying color. (Figure 03)

Figure 03

Color

After I have completed a good black and white work, it is time to consider color, because this is a learning copy work, so a good idea is to try to remove the idea of ​​​​our own painting and carefully observe the color of the original work , make sure you open the HSB color palette under the colors panel, open the original painting at the same time, select the custom tool, and carefully observe the color conversion of the entire painting, continue doing this for ten minutes, and try to understand how the original artist handles colors. of.

In this painting, the main color theme is a fairly saturated red/orange, the dark areas are a very deep red, while the bright tones shift towards orange/yellow. With this in mind, we are ready to start painting Our work is colored because we are adding color to the gray-toned work, so now we need to change the mode of the picture to RGB color mode by selecting Image > Mode > RGB under the menu.

Since we have already taken a closer look at the main color, the first thing we have to do is create a new layer above the base layer, set its Stack Mode to ‘color’, and select ���A clear red/yellow mid-tone as a base, which is our theme tone, then merge it, create another layer, this time to color the skin, observe the transition of the colors on the reference picture and try it out reproduce it. For example, the dark shadow areas on the face are a very saturated red tone, while the bright areas are an orange/yellow tone. Use the HSB color slider to select colors and recreate the colors of the original as best you can, now merge the layers again. Just keep repeating this until you are done with your coloring work. (Figure 04)

Figure 04

Refinement and details

Don’t be afraid to continue making adjustments to the image during the coloring process. Although your work may have a good foundation at this point, adding the necessary changes will only make your work better. Don’t be afraid of the zoom tool. It will become your friend. Zooming in as much as you can will give you further detail, especially in the focal point. For now I want to focus on the face. I’m sure that’s what’s going on in the painting. The part that needs the most attention to detail. (Picture 05, 06)

Figure 05

Figure 06

I hope you enjoyed this drawing tutorial, bye! ! !


Author: Anonymous Source: Translation: CWWS

In this tutorial, I will show how I copied Gerome Jean Leon’s “Black Turkish Mercenary”. As an artist, I feel that I can learn a lot from studying the works of past masters, especially It is with color that when you try to be a student of the master, you have to note that you cannot simply copy the painting, but inject thought into it, asking yourself why the artist chose this color and not another, and more Many such questions.

Initial Sketch

Since we were copying the work of a master, we had to strictly adhere to the proportions of the image we were trying to recreate, and to achieve this I used a grid reference to make the proportions as accurate as possible. We can overlay a layer of grid on the reference image, then re-create a file, fill the canvas with light gray, and start painting according to the grid one by one, trying to be as accurate as possible. This step is crucial, depending on Depending on how you paint, you need to get a very clear result. If the result is messy, then lower the opacity of the sketch layer (about 40%), create a new layer, and trace a clearer version of the sketch you created before. . Here are my results: (Figure 01)

Figure 01

Drawing Tone

Once proportions are established, the next step is to establish a composition with a strong relationship between light and dark. Focusing on the relationship between black and white allows us to focus on creating a sense of dimension without worrying about color.

I personally think that a successful painting needs a good light and dark composition. You can use any color theme, but if the light and dark are wrong, the piece won’t be successful. The first thing we have to do is select Image > Mode > Grayscale, and you will also turn on the grayscale slider under your ‘colors’ menu (Window > Color). Take all the color values ​​you need in this slider instead of taking the colors directly from the reference image, as you won’t learn anything by doing this, and it will give you an aid in learning that you shouldn’t have. (Figure 02)

 

Picture 02

Start simple and use relatively large brushes in the early stages to avoid getting bogged down in details too early. Laying out the colors from dark to light ensures that, early on, all parts have the same level of detail. In the early stages, turn off the ‘Pen Pressure’ function of the brush to prevent the brush from zooming in and out, thereby preventing you from gaining detail. In other words, don’tSpending too much energy on the face and keeping the rest of the piece loose are things you’ll struggle with in the final stages.

For transition processing, I usually use a hard-edged brush to draw scattered points to blend, and use lower transparency to make the transition more natural (mainly using a transparency of 25%-50%). For this stage, you You don’t need a lot of layers, just one for the background and one for the character. Keep things simple. When you’re happy with the tone, you can turn on the ‘Pen Pressure’ setting on the brush tool. ), which gives you control over the size of your strokes and makes it easier to draw details. Create a new layer and merge it with the base layer frequently to always keep the project under control.

Here is the finished grayscale image. Even though it is only black and white, the painting looks very finished. It’s a good idea to try to match the reference image as accurately as possible before applying color. (Figure 03)

Figure 03

Color

After I have completed a good black and white work, it is time to consider color, because this is a learning copy work, so a good idea is to try to remove the idea of ​​​​our own painting and carefully observe the color of the original work , make sure you open the HSB color palette under the colors panel, open the original painting at the same time, select the custom tool, and carefully observe the color conversion of the entire painting, continue doing this for ten minutes, and try to understand how the original artist handles colors. of.

In this painting, the main color theme is a fairly saturated red/orange, the dark areas are a very deep red, while the bright tones shift towards orange/yellow. With this in mind, we are ready to start painting Our work is colored because we are adding color to the gray-toned work, so now we need to change the mode of the picture to RGB color mode by selecting Image > Mode > RGB under the menu.

Since we’ve already taken a closer look at the main color, the first thing we’re going to do is create a new layer on top of the base layer, set its Stacking Mode to ‘color’, and choose a Use a clear red/yellow mid-tone as a base, which is our theme tone, then merge it and create another layer, this time to color the skin. Observe the transition of color on the picture of the work and try to reproduce it. . For example, the dark shadow areas on the face are a very saturated red tone, while the bright areas are an orange/yellow tone. Use the HSB color slider to select colors and recreate the colors of the original as best you can, now merge the layers again. Just keep repeating this until you are done with your coloring work. (Figure 04)

Figure 04

Refinement and details

Don’t be afraid to continue making adjustments to the image during the coloring process. Although your work may have a good foundation at this point, adding the necessary changes will only make your work better. Don’t be afraid of the zoom tool. It will become your friend. Zooming in as much as you can will give you further detail, especially in the focal point. For now I want to focus on the face. I’m sure that’s what’s going on in the painting. The part that needs the most attention to detail. (Picture 05, 06)

Figure 05

Figure 06

I hope you enjoyed this drawing tutorial, bye! ! !


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