Airi Pan42.15 Painting Combined with

  42 Lesson 7 - Painting Combined with Photos Part 3 - Cinderella - PT1

P42 - 00:01  

 And you're back. Welcome back. So as I begin this piece and look for my references, I'm gonna think about what kind of finish, I want to take this piece to. 

P42 - 00:12我想把作品带到什么完成度。 

I like the idea of having a photographic base. And so having objects that might feel on the more photo realistic side, 

P42 - 00:22照片逼真的风格。 

but having a character and still maybe a color palette, that is very much animation based. 

P42 - 00:28角色是手绘制漫画风格。  

So my canvas currently, if you haven't noticed so far, is around a 1.85 aspect ratio. 

P42 - 00:341.85长宽比。 

Same thing that we did for our vision development of little red riding hood on a bridge piece. 

P42 - 00:40和小红帽同长宽比。 

And I imagine that this would also be for its own feature animated film or something of the sort. 

P42 - 00:47同样适用于其它功能动画。 

I know that we're only doing very horizontal like pieces, but don't worry, look at the vertical pieces. Very soon. 

P42 - 00:53很快看到垂直竖屏的作品。  

We still have some modules left, but since most entertainment is very much horizontal based, 

P42 - 00:58大部分制片都是横屏的。 

I'm going to go for it may be a hybrid between very stylized animation and more photo realistic qualities. 

P42 - 01:08动画和真实混杂版。  

I'm going to start by photo bashing in all of the different pieces that I need. 

P42 - 01:12照片成需要的不同风格的作品。 

However, unlike our other photo bash piece, which was taken to a complete finish, I'm not gonna really care about how clean my photos stitch is, because I'm going to paint on top of it later. 

P42 - 01:24照片拼凑可以不干净，上面绘制。 

Right now I'm just putting stuff in so that I can save time. When I actually do the painting on top, you'll see what I mean in just a moment.  

P42 - 01:31那样会节省时间。  

For now, let's go ahead and try to find all those different photos and stitch this piece together. 

P42 - 01:37找照片拼接。 

You will soon begin to notice that the tool that I used by far the most is the distort, skew and perspective transform tools. 

P42 - 01:48扭曲歪曲视角等工具。 

Because a lot of times, let’s be real here. You're not gonna be able to find a perfect photo that has the exact perspective that you want. 

P42 - 01:54未必找到匹配视角线的照片。 

I also layer in multiple different and also later in multiple different windows and walls. And you will see that I did put things on and take things off. I put things on and I take things off because photo bashing is a very collage like experience where you need to mess up to be able to know what works and what doesn’t. 

P42 - 02:14加加减减的不断的试错。  

When it comes to the floor, I simply make sure that I have to pretty large pieces that are able to fit the perspective well, 

P42 - 02:31墙一定契合视角线。 

and then I simply copy paste the floor until it fills up the entire thing. 

P42 - 02:36复制粘贴最后契合视角线。 

I go through. And I bash in a new set of doors because I want to make sure that there's a very large window for light. 

P42 - 02:43用新门保证足够的光线射进来。 

And when it comes to the flower pot. 

P42 - 02:44涉及到花盆的时候。 

Anything that is typically elliptical or round requires a little bit of tweaking in terms of the circular shape, 

P42 - 03:01椭圆还是圆形都需要调整到立柱。 

just so that it fits the perspective a little bit better. 

P42 - 03:05更匹配视角线。 

But otherwise that's really all there is to it. You've seen me do this quite a few times now. And I think the only difference for this process compared to what we've done for the landscape stuff is that there is far more manipulation going on here, or we have to constantly try to distort and skew. 

P42 - 03:22区别点我们不断的歪曲扭曲调整。 

And we're trying to constantly perspective I if that's even a word, but I'm going to quote today perspectify  each of our little pieces to make sure that they fit into our grid. 

P42 - 03:32视角化匹配场景的视角。 

That is the number one thing we need to look out for at all times. If things aren't falling into perspective properly, then our viewer will instantly feel that something is off. 

P42 - 03:40不调整观众很快发现不适合的。  

It's typically also one of the main things that employers are directors and bosses look forward to. Because it is absolutely paramount to have an accurate perspective.  

P42 - 03:52导演和总监要求看视角线。 

Now I go through and do a traditional sketch on Top just to make sure that I can fix some of the prospective areas. 

P42 - 04:20绘制草图也是为了匹配视角线。 

So you'll notice that some of the tables I originally photo bashed in, didn't exactly have a proper perspective, because they were still messed up from the photo bash itself. 

P42 - 04:31扭曲的桌子照片还是不符视角线。 

And so now what I'm doing is going on top of it, drawing it over, because I know that when I go to paint it over, i'll be able to follow my sketch and ensure that I properly followed perspective grids.  

P42 - 04:43遵从草稿遵从视角线网格。 

Well, hello there. My friends and honoured guests. I interrupt your program with a PSA, a public service announcement from Airi, from the future. Unfortunately, the future has scenario of my photoshop files, including this very one, all got corrupted to the point of no repair. So all of my files currently look something like this. Now one could look at the scenario and say, well, a sucks. time to give up, 

P42 - 05:24计算机故障了，不能打退堂鼓。 

but no instead I thought this is the opportunity of the year because as digital artists, we are bound to have this happen to us. 

P42 - 05:30数字艺术家不可避免面对的情况。  

no matter what. Someday something will go wrong. Computer falls to the floor. Photoshop didn't save properly. virus hacked into your things. Or for me hard drive corrupted. These situations are never a matter of if. they are a matter of when. 

P42 - 05:45硬盘主机出现问题，是时间问题。 

So I thought honestly this is a fantastic addition to add to the course. I'm going to show you just how fool proof this process is by redoing my work in front of you. 

P42 - 05:58但是我还是重做了万无一失过程。 

So that number one, I am still able to deliver you a proper PSD file for you to inspect. 

P42 - 06:04还是给到PSD文件供你检阅。  

And that number two, I want you to never give up and persevere on your own pieces. You'll see that almost all of the demo files that you have are slightly different from the final ones that I show in the videos. This is because I actually went back in and completely redid them from scratch. 

P42 - 06:22我是不断迭代作品的。 

It sucks having to reduce stuff. But we're just going to give ourselves a big straw. And we're gonna suck it up. So take this as an additional lesson on top of perspective. 

P42 - 06:32给自己犒劳吸管吸收营养。 

And that lesson is expect the unexpected, work will almost always take longer than you think it will.  

P42 - 06:40工作时间总是比预期的要长。  

And the faster that you can adapt to that, the more fool proof your concept art is going to be. 

P42 - 06:44越是适应这工作越是无懈可击。 

In fact, the more fool proof your life is going to be. So let's jump right back into it.  

P42 - 06:49生活也是万无一失，言归正传。 

So rather than trying to hide the fact that this situation happened, that this corruption happened, 

P42 - 06:57意外事件还是发生，去掩饰下。 

I think it's a good thing to be able to embrace the fact that, well, stuff is just going to happen sometimes, because that's just the nature of working, in the nature of life. 

P42 - 07:05生活本色是一连串的意外。 

It's important to embrace that and not try to pretend, as if every single thing that I do is picture perfect. 

P42 - 07:12不用假装一切都是完美的。 

So we're gonna go through and photo bash these things again from scratch. 

P42 - 07:16从草稿继续照片拼接。 

Thankfully, I do have a screen shot because my video files are incredibly well backed up. 

P42 - 07:24因为视频保存有截图。 

So I do have a screen shot from the video that I can base my new photo bash on top of, 

P42 - 07:30新的照片拼图可以在截图上进行。  

unfortunately, the file that contained all of the photos that I use for bashing also got corrupted. 

P42 - 07:35用照片拼接的素材也被损坏了。  

So I didn't have to spend a little bit of time going back on to Google images to research and relocate all of the original photos. 

P42 - 07:43重新选素材拼接没时间成本。 

Thankfully, whenever you start over, there's always that opportunity and chance to be able to improve and make things better.   

P42 - 07:49总是有机会让事情变好。 

So with the knowledge of the previous photo bash that I had, I was able to do this new photo bash. I would argue a lot faster and a lot quicker. 

P42 - 07:57这次的照片拼接速战速决。 

And I was also able to use new pieces that I think fit the piece much better. 

P42 - 08:02新的作品更加匹配视角线。 

Thankfully, I was still able to find a lot of the old photographs I originally had. 

P42 - 08:06万幸的是还是可以找到原始素材。 

It's still all the same kind of idea in the same principles of putting things down, copy, pasting it if need to, 

P42 - 08:57还是同样的套索复制粘贴。 

distorting it. And you can see that I also take the original Cinderella that I had from my previous sketch simply by extracting her from a screen shot, 

P42 - 09:08主角源自截图。 

which is a very Jackie method. But hey, I mean it works. at the end of the day as a result, right? 

P42 - 09:14奏效的，最终只看结果。 

now what I'm doing is going in to paint every single thing. Just like how we saw in our visual development piece with a little red riding hood on a bridge. I go through to paint every single item in my scene their own unique color. 

P42 - 09:29绘制不同元素不同颜色。 

because we're going to be a base painting and do our shadows and lights on Top of it as we have always been doing. 

P42 - 09:36绘制后光影随行。 

And again, the reason for doing that is because it allows for super easy change. It allows for alterations. And because we're able to have that same method each and every single time, it ultimately makes our painting foolproof.  

P42 - 09:51不断的迭代到万无一失。  

All right. So now that we've arrived at a place where we have most of the base colors down, 

P42 - 10:17基本色上好了。 

what I can actually do is go into so here's my original image, with all the photo bashed pieces. 

P42 - 10:25原始的照片拼接。 

And if I simply select. So going down to my layer, let's say that I select this right wall right here. If I simply select this right wall, go into my image and also copy this out. 

P42 - 10:38进入图像复制。 

So CTRL c, go back to my right wall. Ctrl v, looks like nothing happened. But let me just close this, as you can see it retained my right wall. 

P42 - 10:51粘贴成我理想的墙面。 

And then I can go on here and I can select things such as lighten or darken. darken is usually my favorite. Lighten is also sometimes I go for, but darken is usually what I like to select. And then I simply make it a little brighter. 

P42 - 11:08暗黑和锃亮两个调节图层。 

And that way what happens is that you get this bit of a pattern or some kind of texture, so that when we start painting over it, there is already something set in place and set in stone so that we don't need to do as much work when we paint. 

P42 - 11:25纹理是不用操心绘制的。  

This is mainly about a texture treatment. I'm not trying to use this as a photo bash actual base, but rather simply as a way to give my piece from tooth. So I'm gonna go in and do this for every single piece.  

P42 - 11:38一点点的修缮。  

I’ve now established a little bit of truth in texture for every single individual piece in my painting, whether it's the floor or the wall, the window or the flower pot. 

P42 - 12:21绘制花瓶 窗户 门。 

Now we do what we've always been doing is we try to find a solid reference. 

P42 - 12:27找到参考图。 

So here I take a screen shot from one of my favorite movies which is parasite. 

P42 - 12:30《寄生虫》剧照截图。 

And it follows kind of the same idea that our painting is going through, which is an interior where the light is streaming through the open door. 

P42 - 12:38阳光透过开的门射进来光束。  

I asked myself what color is the shadow as I have been for every single previous piece. 

P42 - 12:44阴影是什么颜色。  

And the shadow here in this piece in reference image is on the green side. 

P42 - 12:47参考图的阴影在绿光里。 

So I add in a multiply layer at the very Top and super quick. I'm just doing some quick shadows here. The kind of picture what my piece would look like in its final stage, 

P42 - 12:59多重层绘制阴影。  

but not really doing it for real just yet. And using that green with the multiplier on Top, I use layer masks to differentiate between my lights and my darks. 

P42 - 13:10图层蒙版来区分锃亮暗黑。  

Essentially, instead of me making a tiny thumbnail of a black and white three value structure,  

P42 - 13:17黑白灰三色原则。 

I'm basically doing that but more complicated here. you'll see that I'm working a lot in black and white as I go through as well, where I now establish the values. 

P42 - 13:27黑白构图举例子。 

So for example, I want a dark foreground and so I need to make sure that my flower pot and those things are the darkest. 

P42 - 13:32前景花盆最暗黑。 

And I want a pretty light background, so that Cinderella was going to be darker. 

P42 - 13:40背景亮，主角黑。 

And so she's gonna be facing more forward and towards us and popping out. 

P42 - 13:42烘托出主角。 

Those are the things that I am able to establish with using that shadow layer.   

P42 - 13:47用阴影层绘制。 

Now what I'm going through is actually going to the base painting. 

P42 - 13:51这是基础绘制。 

And I go through to essentially paint on top of everything, that way I take out the photographic quality and I add that painted handcrafted touch that I really like in my pieces. 

P42 - 14:04在照片上添加手绘。 

And since remember when we said in the very beginning that our ultimate finish wants to be something of a mixture of both photograph and also a bit of painting like quality. 

P42 - 14:14照片和绘制特质兼备。 

So this is exactly where I'm putting in that paint. I go through the floors, the walls, anything that needs some more TLC. So we're just going to watch a little bit more of me doing that. Then we'll head to the next video. We're gonna take this piece to an ultimate finish.