Author: marta dahlig Source: Mars Age
Introduction
Marta Dahlig takes us through the creative process of the EXOTIQUE 3 cover image.
“Sky Under an Umbrella” by Marta Dahlig was unanimously selected as the cover image for EXOTIQUE 3 published by Ballistics. After submission, Marta Dahlig improved the work to make it more perfect. So next, she takes us into this gorgeous dream.
Palette and Brushes
When I started making this work, I knew exactly what effect I wanted to achieve…
A familiar yet poetic display of emotion. And use blood red as the background, and add some more realistic elements, etc. So I chose some common colors and used them throughout the coloring process, and also selected some skin tone fuels for the characters.
After selecting the mid-tones, I blend them with the first paint. In this piece, I used brushes that fit my needs perfectly: rounded hard bodies with jagged edges; paint brushes; rotary brushes and spray brushes for blending skin tones. (Picture 01, 02)
Picture 01
Picture 02
Color block and body shape block
After picking the colors, I opened a new folder and started sketching out the general color pattern (it’s worth noting that you need to keep the character’s color in a separate layer), and then applied different shadows throughout. Diffusion throughout the scene helps me coordinate the colors initially and avoid over-saturation. (Figure 03)
Figure 03
After that, I lightened the character’s layers and started adding more details to the girl. I only added color blocks to this image and didn’t use any classic sketches. Because the top is really messy. Also, adding blocks of color gave me a lot of inspiration for how I would approach the style of this image in the rest of the process. (Figure 04)
Figure 04
Background
Now let me introduce the background production process in detail. Normally, I leave the background part for last, but this time because most of the color is placed in the sky, I need to work on that area first. I didn’t define the background in detail, I just placed it a little further away to leave room for imagination. The entire background of the piece was done in Photoshop using rough and soft brushes. (Figure 05)
Figure 05
Face
When making this section, I first sketched out the character’s face, because it is one of the most important parts of the entire image, so I processed every detail very carefully. I often draw confident and emotional faces. But this time I wanted to portray the girl as young, subtle and full of fantasy. First, I moved the face I had sketched earlier and sketched another face that I could use for comparison. As you can see, the figure on the left tends to be modern, and his expression is too concentrated.
So I decided to use the original one. After selecting the face, I increased the brightness of the image and smoothed out the rough areas in Painter. Then I added some details and focused on the eyes, nose and lips. The final composition was done using the “Add Water” tool in Painter. (Picture 06, 07)
Figure 06
Picture 07
Body
After completing the basic parts, I started making the skirt and body parts. I used the same brushes mentioned above for both parts. First I added details to the previously sketched body and skirt. most of the skirtThe details are all done in Painter. Use a smooth, subtle brush to easily create the appearance of the collarbone. When coloring the body, I used rough brushes from Photoshop, and I mixed them with spin brushes and spray brushes. (Figure 08)
Figure 08
Fish
After finding enough information from the reference book, I started making the goldfish and umbrella parts. Since both places have some symbolic meaning, I decided to add some magical elements to them. I wanted to make a goldfish into a soul-like object. If you don’t look carefully, you won’t notice it’s there. Not only will this not steal the shot of the characters, but it will also be full of mystery. (Figure 09)
Figure 09
Complete submission version
After the work is completed, I send it to the client. Later, I re-evaluated the image myself. Although I am very happy with it. However, after careful observation, I still think that there are several aspects that need to be changed. Therefore, I broke my past habits and went back to the old work to revise and improve it. (Figure 10)
Figure 10
New background
First, I changed the aspect ratio of the paper to make it taller so I could draw the sky wider, as well as add depth to make the goldfish and characters appear visually further apart. . After that, I experimentally rotated the entire image 6 degrees to the left, so that the horizon line and the colored edges were no longer balanced. As a result, the entire image looks more interesting and vibrant. (Figure 11)
Figure 11
Redraw at the bottom
Immediately afterwards, I changed the background – the position of the clouds, water and rocks. I try to make them look obvious and meaningful, especially in contrast to girls. In Painter, I painted the colors of the clouds, basic waves and rocks very well. Then move them into Photoshop to add texture and details. (Figure 12)
Figure 12
Face Repaint
Now I start working on the face. First I added some new textures to the lips and skin (mainly freckles). I wanted to make the eyes more dramatic, so I added some white and blue glitter. Let these two subtle colors occupy either end of the brown to make the eyes more lifelike. At the same time, I placed a lot of colored highlights on the top of the lips and increased the brightness of the outer part (between the upper and lower lips) to create a lipstick effect, which is very attractive. (Figure 13, 14)
Figure 13
Figure 14
Hair
I also modified most of the hair where the texture didn’t look realistic. To create this session, I used Photoshop and some custom brushes. I often paint the larger and darker areas with the smoothest brush possible, and then use smaller brushes to work on the lighter shapes. I then created a Multipurpose mode and spray brushes to create softer, darker, curlier hair. However, the final effect is a little dense. Therefore, I used standard Photoshop tools to moderate the colors. (Figure 15)
Figure 15
Fish glow
When making the goldfish part, I added a lot of spray strokes to the girl’s hair and skin (to create a beautiful afterglow effect on the body) and this also allowed me to make the width of the character and background higher. I then reconfigured and resized the goldfish. I used a spray brush to add some shine to them. Furthermore, two classes are used to set the color for them. The final effect really made me ecstatic. Because this is exactly the kind of softness with frenzy, the fantasy with ambiguity that I want to express. (Figure 16)
Figure 16
Umbrella, sky
This is the effect of the final work. I have to admit that making this work not only gave me a lot of experience, but also made me enjoy it very much. Because it lets me know that when making a work, the processing of details and colors is more important than the monotonous beautiful appearance. Finally, I would like to thank Frank Sinatra once again for his song “Summer Breeze.” Because the title of this work was inspired by this song. Likewise, this song has also become a source of motivation for me to move forward courageously. (Figure 17)
Figure 17
Author: marta dahlig Source: Mars Age
Introduction
Marta Dahlig takes us through the creative process of the EXOTIQUE 3 cover image.
“Sky Under an Umbrella” by Marta Dahlig was unanimously selected as the cover image for EXOTIQUE 3 published by Ballistics. After submission, Marta Dahlig improved the work to make it more perfect. So next, she takes us into this gorgeous dream.
Palette and Brushes
When I started making this work, I knew exactly what effect I wanted to achieve…
A familiar yet poetic display of emotion. And use blood red as the background, and add some more realistic elements, etc. So I chose some common colors and used them throughout the coloring process, and also selected some skin tone fuels for the characters.
After selecting the mid-tones, I blend them with the first paint. In this piece, I used brushes that fit my needs perfectly: rounded hard bodies with jagged edges; paint brushes; rotary brushes and spray brushes for blending skin tones. (Picture 01, 02)
Picture 01
Picture 02
Color block and body shape block
After picking the colors, I opened a new folder and started sketching out the general color pattern (it’s worth noting that you need to keep the character’s color in a separate layer), and then applied different shadows throughout. Diffusion throughout the scene helps me coordinate the colors initially and avoid over-saturation. (Figure 03)
Figure 03
After that, I lightened the character’s layers and started adding more details to the girl. I only added color blocks to this image and didn’t use any classic sketches. Because the top is really messy. Also, adding blocks of color gave me a lot of inspiration for how I would approach the style of this image in the rest of the process. (Figure 04)
Figure 04
Background
Now let me introduce the background production process in detail. Normally, I leave the background part for last, but this time because most of the color is placed in the sky, I need to work on that area first. I didn’t define the background in detail, I just placed it a little further away to leave room for imagination. The entire background of the piece was done in Photoshop using rough and soft brushes. (Figure 05)
Figure 05
Face
When making this session, I first sketched out the character’s face, because it is one of the most important parts of the entire image, so I worked on it very carefully.Take care of every detail. I often draw confident and emotional faces. But this time I wanted to portray the girl as young, subtle and full of fantasy. First, I moved the face I had sketched earlier and sketched another face that I could use for comparison. As you can see, the figure on the left tends to be modern, and his expression is too concentrated.
So I decided to use the original one. After selecting the face, I increased the brightness of the image and smoothed out the rough areas in Painter. Then I added some details and focused on the eyes, nose and lips. The final composition was done using the “Add Water” tool in Painter. (Picture 06, 07)
Figure 06
Picture 07
Body
After completing the basic parts, I started making the skirt and body parts. I used the same brushes mentioned above for both parts. First I added details to the previously sketched body and skirt. Most of the details of the skirt were done in Painter. Use a smooth, subtle brush to easily create the appearance of the collarbone. When coloring the body, I used rough brushes from Photoshop, and I mixed them with spin brushes and spray brushes. (Figure 08)
Figure 08
Fish
After finding enough information from the reference book, I started making the goldfish and umbrella parts. Since both places have some symbolic meaning, I decided to add some magical elements to them. I wanted to make a goldfish into a soul-like object. If you don’t look carefully, you won’t notice it’s there. Not only will this not steal the shot of the characters, but it will also be full of mystery. (Figure 09)
Figure 09
Complete submission version
After the work is completed, I send it to the client. Later, I re-evaluated the image myself. Although I am very happy with it. However, after careful observation, I still think that there are several aspects that need to be changed. Therefore, I broke my past habits and went back to the old work to revise and improve it. (Figure 10)
Figure 10
New background
First, I changed the aspect ratio of the paper to make it taller so I could draw the sky wider, as well as add depth to make the goldfish and characters appear visually further apart. . After that, I experimentally rotated the entire image 6 degrees to the left, so that the horizon line and the colored edges were no longer balanced. As a result, the entire image looks more interesting and vibrant. (Figure 11)
Figure 11
Redraw at the bottom
Immediately afterwards, I changed the background – the position of the clouds, water and rocks. I try to make them look obvious and meaningful, especially in contrast to girls. In Painter, I painted the colors of the clouds, basic waves and rocks very well. Then move them into Photoshop to add texture and details. (Figure 12)
Figure 12
Face Repaint
Now I start working on the face. First I added some new textures to the lips and skin (mainly freckles). I wanted to make the eyes more dramatic, so I added some white and blue glitter. Let these two subtle colors occupy either end of the brown to make the eyes more lifelike. At the same time, I placed a lot of colored highlights on the top of the lips and increased the brightness of the outer part (between the upper and lower lips) to create a lipstick effect, which is very attractive. (Figure 13, 14)
Figure 13
Figure 14
Hair
I also modified itMade most of the texture look unrealistic to the hair. To create this session, I used Photoshop and some custom brushes. I often paint the larger and darker areas with the smoothest brush possible, and then use smaller brushes to work on the lighter shapes. I then created a Multipurpose mode and spray brushes to create softer, darker, curlier hair. However, the final effect is a little dense. Therefore, I used standard Photoshop tools to moderate the colors. (Figure 15)
Figure 15
Fish glow
When making the goldfish part, I added a lot of spray strokes to the girl’s hair and skin (to create a beautiful afterglow effect on the body) and this also allowed me to make the width of the character and background higher. I then reconfigured and resized the goldfish. I used a spray brush to add some shine to them. Furthermore, two classes are used to set the color for them. The final effect really made me ecstatic. Because this is exactly the kind of softness with frenzy, the fantasy with ambiguity that I want to express. (Figure 16)
Figure 16
Umbrella, sky
This is the effect of the final work. I have to admit that making this work not only gave me a lot of experience, but also made me enjoy it very much. Because it lets me know that when making a work, the processing of details and colors is more important than the monotonous beautiful appearance. Finally, I would like to thank Frank Sinatra once again for his song “Summer Breeze.” Because the title of this work was inspired by this song. Likewise, this song has also become a source of motivation for me to move forward courageously. (Figure 17)
Figure 17
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