Airi Pan VisDev 22.16

 

22 Lesson 4 - Classic VisDev Painting Part 5 - VidDev Demo - PT3 P22 - 00:01演示第3部分。 

No intro, we’re just going to jump straight into it. 开门见山，直接切入正题。First thing I'm going to do is finish up my sky. I paint up a much larger portion of the sky, since now the layer is underneath everything else. It doesn't look like I'm doing anything here, but I'm actually repainting all of red, slowly and chipping away so that I can carve it is still wet, make it more understandable, more readable.我重新绘制的，让轮廓明朗起来。 and render his clothing and outfit. Painting is a very evolving process. It's completely okay to paint and repaint. No one expects every single brush stroke to be picture perfect. The moment you put it down on the canvas. you'll see that I'm noodle around a lot. And that's completely okay. 绘画日益精湛，没人确保落笔就完美。你可以看到我调整很多。The amount of rendering necessary is going to be different for every single person different for each of your project. it will be different according to your own style. 渲染因不同人不同项目而异。This is the part where you get to put your own twist. If you don't like rendering clothes that much you can do something a little bit simpler and just focus more on silhouette. 这部分就是反复雕琢，如果你不想渲染衣服，就专注轮廓。 

P22 - 00:59另一方面。 

Or on the other hand, if you absolutely love rendering, then go ahead. Render away. The thoughts that flow through my head as I paint for typically along the lines of am I following the overall color that my backbone gives.我画线条时候想的是跟随主色调，并不想太过偏离主色调。 我绘制的时候不断调整颜色。 两个遵从：参考和原图。I don't want to stray too far from my original colour guide.And as I paint, I adjust colors a little bit. I change this and change that. But overall I'm sticking very close to number one. My reference image, number two my original color values. 

P22 - 01:33颜色要和谐。 

So no matter what kind of colors I choose or go for it, they're going to stay harmonious. Because a lot of times people ask, oh, how do you know how to choose this color? Or how do you know which color to use for this and this?很多人问，你怎么知道选这颜色，用在哪？答案就在眼前。 The answers are right in front of you. 

P22 - 01:48拿草举例子？ 

So let's take an example of the grass. How do I know what color to make the grass? While step one, you can look at the reference image, you can color and pick from that. 第一你可以吸取参考上颜色上色。 

P22 - 01:58第二上多重的颜色？ 

Oh, but how do you know how deep the shadow needs to be? I asked myself, number one, if my reference images and tell me those answers, then what time of day Is it?按照参考图片的，这是一天中什么时间呢？小红帽打北方日出的时候出发的。 I know that obviously little red has already setting off towards the beginning of the day, North sunrise,  

P22 - 02:11意味着有雾气。 

that means number one, there will be a little bit more mist, there is going to be a little bit more haze and sunlight becomes very yellow. 有雾霾，阳光金灿灿的，所以我涂抹阳光偏向明灿灿金黄色。So my highlights in all the colors I use should start to drift more towards the yellow and bright side. So whenever you are confused as to what colors to do, just ask yourself the basic question. 

P22 - 02:32问基本的问题？ 

Number one, does my reference image answer my question? If my reference image doesn't, then I can go back to the basics. 如果参考图不能回答我的问题，回到基本问题：这是一天中什么时候？如果白天，阴影偏蓝色。What time of day is it? If it's daytime, that means my shadows are going to be a little bit more on the blue side, because the sky is very blue and powerful. 或者是太阳上山或落山的时候，世界看起来很暖和，阴影倾向于棕色。Or if it's going to be near sunset or sunrise such as now, then the world looks a lot more warm. So all of my shadows Lean a bit more towards brown.原始主图阴影支持棕色。 And all of this is supported by the original colour backbone that we had that has the shadows as brown. I'm not straight very far from the things at all.从外面看终稿，惹人困惑。 So from the outside, when you look at the finished piece, it’s kind of confusing us to oh, shoot, 怎么能做出这样，如何决定做这样？how are they able to do this? How are they able to decide to do that? 

P22 - 03:16演示给你看如何做到的。 

Well, you literally saw how we were able to decide it, by having that color backbone, by having a reference, by knowing what times a day, how colour and light affect each other, by having all of those knowledge combined together, you're setting yourself up for success. 通过知道参考颜色，一天什么时间，颜色和亮度如何相互影响，通过所有的知识结合在一起，给自己搭建成功之路。 

P22 - 03:30盲点要查漏补缺。 

There’s no more going into a piece blindly and not knowing what to do. 参考与常识，都可以参考。If you don't have your reference, you can rely on knowledge. If you don't have your knowledge, you can rely on reference.双管齐下，万无一失。 You've got a backup plan, a backup plan b. So you can't fail. This is why it is foolproof. 

P22 - 03:46技巧分享。 

Now I want to give a super quick tip on just simply rendering water. you'll notice that at the very beginning I used a very strong blue for the water. 你注意最开始我用蓝色渲染水。但是水映照天空，水蓝色，天空是蓝色橘色粉色混合色。But then I eventually switched it up to a purple because unlike an elementary schooler who would just paint water as blue water is for reflective. It reflects the sky because our sky is a mixture of blue and orange and pink. I want it to be a darker reflection of what the sky is. 

P22 - 04:15所以水用酱紫替代蓝色。 

So instead of using a strong blue, i've course corrected it to a pink purplish color. 针对某物体上面的阴影，比如草和桥重叠部位，阴影部位小细节化局限化。Also a tip on a painting is notice how all of my shadows especially areas where something is on Top of something else, such as the grass over laying the bridge. The shadow is very small, finite and detailed. 稍后我们涉及到，这是边缘阻塞的案例，给到的更真实的接触。我喜欢阴影锐利而且小。This is going to be something that we're going to cover a little bit more later. But this is an example of ambient occlusion, and it gives you a piece of a more realistic touch. I'd like to keep these shadows super sharp and super small.  

P22 - 04:51小细节的意义。 

This tiny detail like that makes the piece feel more finished, as opposed to if you have really big rough shadows and you don't have any smaller details, then the I will think the piece isn’t as finished, you don't need to render every single little detail. 相反如果你大面积的阴影没有细节，像是半成品。但你没有必要面面俱到的渲染阴影。 

 P22 - 05:09渲染有意义的细节。 

But just having small pockets of very detailed shadow gives you a piece that nice finished feeling without having to do too much work. 一点独到阴影细节可以说明问题，替代面面俱到。Again, guys work smarter, not harder. 

P22 - 05:21针对灌木和树木。 

For shrubs and trees. One of my favorite tactics is vacate a blob like amorphous blob of a shrub. And you use the eraser and you actually erase some parts of it out. So you get these negative space. 针对灌木和树木，我喜欢的是一簇簇的方法，用橡皮擦出负空间。And then you also make these other eraser marks for kind of the branches would be. And then you take your brush and then you go back on Top of it and paint again a little bit more, just to cover those areas up as if you are adding leaves to a branch.还可以用橡皮擦出，树叶挂在树枝的形状。 And then that usually gives me a pretty solid shrub or tree, at least solid enough for a visual development piece.具备辨识度，肉眼可见的形状。 It definitely won't be a photo realistic level of finish, but we are not looking for that here. 

P22 - 06:06因为这是太阳升起时候。 

And because our pieces is at sunrise. So that means the sun is very low in the sky. Our character is going to be back lit, therefore they will have a strong rim light wherever the sun starts to hit them.  

P22 - 06:16加点太阳打在背后的轮廓光。 

So for the goats and for little red, i put these strong highlights near the Top of the character towards the tips anywhere. That kind of exposes them to sunlight. And not only does this help separate them from the background, so they feel like they're coming forward, but it also allows this very nice lights effect.轮廓光作用不仅让人阳光下前行，从环境凸显出来。 

P22 - 06:37水也高光。 

I also make highlights for the river too, just because I feel that with running water is much nicer if you have a little bit of flow and some movement included in it.展示波光粼粼川流不息的动态感。 So I take a slim brush and I just go in and make some nice silky threads like textures the water, just to give it a little bit of fun playful gesture. 细刷子勾勒出来水波纹，欢快奔流的姿态。 

P22 - 06:59可以停在这的点。 

And for me this is actually where I would stop. I think that this is solid enough to be able to turn in. It gives us all the Information that we need. And people should be able to clearly tell what items are. 我们表达自己的信息，人们可以分辨出来不同物体。The bridge looks like a bridge. The grass looks like grass. The moss hanging off the bridge looks like moss, and on the rocks look like rocks! That's exactly what art is supposed to do, it is supposed to be a visual communicator.  

P22 - 07:22完稿的润色部分。 

I’m now at probably my favourite part which is doing touch UPS and final touches. I could obviously take this piece and noodle it all the way to a finish. Finished rendered piece of a finish. But I don't feel the need , I feel that this piece perfectly depicts exactly what I want. It's a boy with a goat on a bridge. This candy completely suffice. If you want to take it to a higher finish you can absolutely go and render it more. That's the beauty of a piece like this. You don't ever need to stop. You can just keep on going forward and render render render render. Unfortunately, I don't have that much time.  

P22 - 07:58再回去对比参考图。 

But when I take back my reference and you can see that we definitely strayed a bit from this. 你可以看到有一点偏差。But that is completely okay and honestly to be expected. If you drew it exactly like this reference piece. Then why in the world do we even need artists? Why don't we just use photographs all the time? But I do like the idea how it has this very warm glow and see how this global penetration into the darkness of these trees as well.  

P22 - 08:23喜欢万丈金光穿破黑暗的效果。 

To do so, I go to the very Top and I go to a soft light. You can also do an overlay layer. But to me soft light works the best.对我而言顶部柔和光比重叠层效果好。 and I am just going to lightly brush the piece with some warmth. So I'm making it really big you can see, and immediately you can see that there is a he's very very red now. 轻柔在天际的勾勒出暖光，你可以看到红彤彤太阳光。 

P22 - 08:47调节不透明度。 

So I'm just going to slightly push it back by lower the opacity right here. And I'm also going to touch up a little bit as well. Just like this, using a little bit of yellows. And that really making my brush huge, and just gently tapping it. I'm just ever so gently tapping it. And you can see that with every single little tap I do, it is just lightly bringing up the value of my piece, 调大刷子，轻轻的点，每点一下，局部色块浓重一点。which as you remember, if we go into our atmosphere, we want to make sure that this right side area is dark and then the left side area is lighter. So we have a very clear foreground background and mid ground distinction. 还记得我们黑白灰图吗？右侧黑色，左侧亮色的，这样前景中景背景区分很清楚。 

P22 - 09:34切换到黑白图。 

And if I turn this into black and white, you can see this black is really prominent and it protrudes out. You'll definitely see that red pops out in front of the background. Even in black and white. This is a very good sign tells me that I'm doing something right. 黑白图中小红帽赫然醒目。告诉我方法是对的。 

P22 - 09:47回到彩图。 

Okay, let's take it back to color. And as soon as I touch in those soft light, like the warmth, it immediately feels like light is streaming through. I'm going to add a little bit of that here as well. 现在完成了一缕缕阳光穿透大气层的感觉。接下来山被点亮，可以选择重叠。And because the mountains in the back are being back lit, I have an overlay layer right above the mountains.我选择红刷，周围越是暗淡，小红帽主角越是被凸显， I'm gonna take my big red brush and just brush it like that. So the mountains seem like they're being backed and then red, because of it gets to stand out even more, because he is the main character of this piece. Everything revolves around him. He is truly the center of the world. It's a little bit too much. So I'm just gonna decrease a bit. 

P22 - 10:38暖光用高亮部分烘托。 

I'm also going to add that warmth here. And now I get to go in to do some of my favorite things, which is really making those highlights half. So I do a new layer.  

P22 - 10:51新图层，颜色减淡。 

A lot of people just do color dodge. But let me tell you how to really unlock the true potential of color dodge. You double click the layer like that, double click it , it’s going to prompt this up and you re gonna unchecked this one transparency shapes layer. 双击图层弹出对话框，取消“透明形状图层”复选框。I have no idea what that means. But I just unchecked this every single time I used colored dodge, because it gives you this really nice like, look at that. Yeah, this punch. Oh my god! That punch is my favorite thing ever. So I lightly brush and it really feels like light is hitting our red.如同太阳在人物轮廓镀上最亮的一抹金。做过了不如不做。 And you don't want to overdo this. As soon as you overdo this, it looks super gimmicky and it looks really ugly. But if you just do it ever so slightly, it's a very nice touch, look at that. Look at that. Look at that. Oh.he is coming to life. Soon he’s going to jump out of the screen and talk to you, just thrashing the highlights ever so slightly with this color dodge tool. Making sure that don’t overdo it too much.  

P22 - 11:59太阳镀金让人栩栩如生。 

Okay, we are getting really, really close. The sky is a little bit too blue for me actually, just ramping it up. That feels a lot better to me now. 

P22 - 12:19选择性颜色。 

And we get to do and play with something that I called the selective color. So this is something that I love doing. So you take a to adjustment layer as down here this little like half moon. Then you click selected layer and I'm using this layer at the very Top of my other layers. 右下角半月形的徽标点击选择图层，放在所有图层上面。You can choose the amount of each specific colour that you want. 

P22 - 12:36选特殊颜色的例子。 

For example, if I go into red, I can control how much red goes into my piece. For me. I want. Like a pretty good chunk of red. And you can also just see like how interesting it was green or if it's like really really like sunset red, whenever push it to sunset. Right?可以控制不同种类的颜色，比如选择红色，接近夕阳的。 Because that is the glory of photoshop. You can adjust things, we’re not at the age of oil painting where if one of us messes up, then it's over. 软件的独特就在于可以调节，并不是过去油画年代，错一笔就得重来。Like we can we go back and we can change things. You should take advantage of that. Don’t think that you should get it right on the first shot. I love just going in and kind of just playing with what I want my values to look like. 逐渐褪的粉色比较好，So that's a really interesting faded pink look. But I don't I wanna make it look a little bit more realistic than that. So my favorite thing to do is actually going into the blacks and adjusting with the blacks look like like, look at this. is that crazy? man? The world is my oyster. Here is a really fun part. I can either increase it. So like make the blacks lighter or I can decrease it.  

P22 - 13:42降低亮度。 

So what I'm gonna do is I'm gonna ever so slightly decrease it, just like that. And then I'm going to make a new selective color layer. And I take my black, so I'm gonna go a little bit lighter. 选择性颜色的图层，调亮。So you see how it kind of gives me this vintage faded look, it comes with an automatic layer mask right here. 有这种雾蒙蒙的感觉，像是自动的蒙蔽。So I'm gonna take this layer mask, click it, use my paint bucket tool and completely fill it with black, 用油漆桶把蒙版涂成黑色。so that wherever I paint in white, it gives me that faded effect. And I could just go in and I can just choose where I want this fade to be.油漆桶涂白色的给到隐退的感觉。 So because I want this front area to be the darkest, I'm fading everything here. And I can also push that back, using black. 因为我想让前景变黑。远处的淡去。 

P22 - 14:27太阳照在桥头感觉。 

because I want the sun to really feel like it's hitting the bridge. I'm going to give it a bit of a faded look right here, just like that. So it looks almost as red as casting like a bit of a shadow. This is so exciting. Our pieces coming to life. Trying not to over do it. Subtlety is key here.  

P22 - 14:55颜色调节。 

And now my final favorite thing to do, is going into a thing called color lookup. So this one right here, 就像是PS滤镜功能。and it's literally photoshop version of filters. You can play around and see how you like each and every single one of these looks. They're literally just instant filters that you can put your art through. And this is so much fun. I find myself coming in here all the time and just playing around, adding a whole bunch of them on Top of each other. How was that not fun? I guess I kind of like this one where gives my piece and ever so slight vintage feel. 选定一个贴图颜色滤镜效果后，调节不透明度。I'm just gonna tone down the opacity on it. So my opacity was like 22 inch per cent, so a very slight effect. But it's the little things in the details that matter. 

P22 - 15:57最后颜色减淡处理。 

Last touch I'm gonna do take my color dodge. Playing with the facts is so much fun. I could do this forever. Oh, my goodness! So now person's I will go here first are red, are for the rule of thirds. And then they will probably jump here. We have this foreground right here that keeps our eyes focused on our main character red. 前中后景界限曲线引领人眼集中在角色上。 

P22 - 16:26结论。 

Now that we've come to a conclusion on this piece, and you'll see that we did not just conjure this piece at this and there. And this is not just appear out of existence, 什么放置在哪里不是随意摆放的。背后逻辑下节课讲述。we have to think about it.let’s jump into the next episode, where we review exactly what happened, because you just saw a lot of information.