Airi Pan43.21 Painting Combined with

 43 Lesson 7 - Painting Combined with Photos Part 4 - Cinderella - PT2

P43 - 00:01 

 And welcome back no additional intro. We’re going straight to it. 

P43 - 00:06开门见山。 

I’m continuing to go ahead and paint on Top of the two detectors I already added, 

P43 - 00:12在我新加入两个设备涂抹。 

in order to give it that handcrafted look. 

P43 - 00:15或给出手工操作后的外观。 

you see that I love to add my brush textures, especially over any areas that have a lot of photographic qualities, 

P43 - 00:23有照片质感的我用刷子涂抹。 

because I only want some of the photographic qualities. I want them to be subtle. I don't want it to be a heavy amount. 

P43 - 00:30要轻微的照片质感。 

Essentially, I am repainting the piece quite a lot to a degree. And you might ask, well, what's the point? Why are you just repainting a piece, If you could just paint a piece by itself. 

P43 - 00:40为什么重新绘制而不是一次绘制。 

while having this photographic base, allows me to be able to paint more leisurely. Because I don't need to think too heavily about what kind of texture that I want. It allows me to just paint and let my mind kind of rest and relax as I just go ahead and paint on Top.  

P43 - 00:56我不需要思考质地纹理了。 

Now I go in to paint our Cinderella. You can see that I'm adding in the shadows of her clothing, her face, her hair giving her actual features. 

P43 - 01:07给面部衣服绘制阴影给真实感。 

Since we haven't drawn a character who's face really shows off. Well, just yet. I will be sure to come back to her a little bit later, you'll see that the screen kind of zips back and forth. This is because while I'm working on Cinderella, I like to zoom in and I like to zoom out, just to ensure that she looks good from close. And she also looks good from far away. 

P43 - 01:26放大缩小，近观可以远看也可以。 

Because ultimately people won't be viewing this piece at a super zoomed like what 150 to 200 percent. 

P43 - 01:34人很少放大150%以上去看。  

They're probably going to be viewing this at less than 100%.  

P43 - 01:37人们选低于100%看角色。 

So just an image that takes up maybe half the screen at best. Therefore, we need to make sure that all of the elements are understandable from very far away distance. 

P43 - 01:48远处看也具备可读性。 

But don't worry. The screen moves back and forth because we're going to zoom out, and i'll make sure that you can view the painting and a much more leisurely way like this. 

P43 - 01:57观看绘画教程的也养眼。 

There isn't much to explain here.  

P43 - 03:35绘制三分钟。 

because it's really just going over and painting on top of that we have whether that's the flower pot, the walls, or the desks. 

P43 - 03:44绘制花盆 墙 桌子。 

This is just like in our little red riding hood piece on the bridge. Or we are finally taking things to a bit more of a finished fidelity, 

P43 - 03:52完工的保真度。 

you see that for the doors. I'm trying to make sure I just keep a bit of the original photographic qualities. I don't want too much. 

P43 - 03:59门我保留部分照片质感不是很多。 

So I put in some key shadows and that's it. And with that, sit tight and take a nice chill pill. As always, I will be sure to speak up whenever there is a very important aspect or something new that I would like you to learn. If I try to explain every single brush stroke, I think all of us will lose our minds.  

P43 - 04:15没有细致描述笔刷笔触技巧。 

We were now at a point where I'm pretty satisfied with our base painting. 

P43 - 05:21绘制一分钟。 

And so now I'm gonna run through the layers one more time with you guys. So here's my colors’ layer. This is my original image. So the photo bash image that I put in. 

P43 - 05:34原始照片拼接图。 

the second one, I should say, since we lost our first one, sadly, due to corruption, what I'm going to do is I'm going to add this light layer of overlay right here as kind of my base lights. 

P43 - 05:44重叠 灯光层作为基本层。 

And then using the shadows layer that we did earlier, I'm gonna work starting from this and then basically molded into the kind of shadows I want. 

P43 - 05:56阴影层描绘我想要的阴影。 

So i'll be taking some inspiration from this image to be able to take the shadows. However, you can see that the green here isn't the best color for this piece. So either A, I might change my reference or B, even though I finished the shadows, i'll probably change the colors later on. 

P43 - 06:14换参考图或者改阴影颜色。 

My main goal is to make sure that these shadows look understandable and accurate in black and white.  

P43 - 06:19阴影在黑白图里合理的。 

The first thing though that we need to tackle is the idea of the sunlight. So as you can see, we use a perspective grid for our entire interior, 

P43 - 06:30室内装潢用的视角线。 

but the sunlight also needs its own perspective grid. And let me show you how to do that.  

P43 - 06:33太阳光也需要自己的视角线。 

Now to demonstrate sunlight perspective, let's take a really quick look at this image right here. 

P43 - 06:40这有光束的视角线参考图。 

I'm gonna turn off my old perspective grids. You see when sunlight streams through a window, it also ray out in this ray like format this way this way this way.  

P43 - 06:51太阳光漫射开来。 

Well, the sunlight actually has a specific perspective that it is flaring out. 

P43 - 06:57光线有平铺的视角。 

The sunlight isn't exactly random. it’s quite organized. 

P43 - 07:01太阳光是有规律的不是随机的。 

And it has its own set of perspective grids that might sound really daunting. 

P43 - 07:07听起来令人生畏。 

Like, oh gosh, I have to do a new perspective for the sunlight. It's actually not that scary. Trust me, we're simply gonna do is just turn the image off when you delete them, banish from my life.  

P43 - 07:18删除掉参考图。 

Let’s take a look at the shadows that we have so far. All we really need to do is to be able to hand out a perspective grid. 

P43 - 07:26需要交出视角线参考图。 

And perspective is really just made of two lights. 

P43 - 07:30视角线两束光构成的。 

So I'm just gonna choose any two random lines. Let’s say that I want this line. And I want this one. 

P43 - 07:42比如这是我选择两点生成视角线。 

And I can follow this perspective grid to be able to create really accurate shadows. For me. This grid in particular doesn't really get me the feeling that I want. So I'm gonna be trying a different grid. So I want my perspective to be a little bit more wide. 

P43 - 08:00我想让视角更宽阔一些。 

Let's just quickly erase this. Just so I can do a demonstration. But all you have to do is, first of all, I'm gonna add a shadow for my door base. 

P43 - 08:15我给门槛加上阴影。 

So this base right here is going to be casting a shadow first and foremost. 

P43 - 08:21门槛先有投射阴影。 

So I'm gonna make sure that I covered that. then let's say that I want my table here. So all I have to do, let's just say that I followed here. These shadows don't need to be the most accurate in the entire world, 

P43 - 08:34做桌子的阴影，未必契合大视角。 

but they should definitely at least follow the perspective. Thankfully, it's a painting and we don't need to be the ones to have to hyper worry or fixate on accurate shadows. 

P43 - 08:44但是不能破坏整体的视角线。 

If this was a more photo realistic piece, then yes, I would actually go in and calculate the shadows.  

P43 - 08:51真人影视风格的，调节阴影。 

But this is not a piece that we have to worry about that you bring this down over here. My door would have a shadow that goes this way. 

P43 - 09:00这是我门的阴影走向。 

And this is just one side of it. This is not the other side. And then this door down here would have a shadow going this way. And of course, we need to get this door. So by following these perspective lines, I'm basically able to cast very accurate shadows. 

P43 - 09:19开始精确的投射阴影。 

We'll get to that table a little later. Cinderella will also cast shadows that go this way, too. And you would have shadows for the sun light. 

P43 - 09:36主角和太阳的阴影都有了。 

Let’s say you don’t have the perspective tools. And you want to be able to create a perspective grid without these tools. Well then simply you would take the one point perspective brush. 

P43 - 09:44一点生成视角线刷子。 

So let's make it into red. I'm going to put it anywhere randomly, and then you simply move it to where you desire. 

P43 - 09:49位置移动到位。 

So let's say that these shadows wanted to be here. And then I simply make it big enough so that it covers the screen.  

P43 - 09:59阴影足够大覆盖整个屏幕。 

So as you can see, simply by using that one point perspective brush, and by popping it down, making it bigger, I'm able to pretty much get the exact same result as the perspective tools did. And it really did not take that much time. So you can't go wrong either way. 

P43 - 10:21想失败都困难。 

Let's get right back into finishing this piece of shadows. So now, because I have finished my base painting, I am fully focused on making sure my shadows are as accurate as possible. 

P43 - 10:29确保阴影准确的。 

I'm repainting in most of the shadows, making sure that I can differentiate between different objects, whether that's making them feel like they're more forward or pushing them more towards the back. 

P43 - 10:40阴影暗黑决定远近。 

And as you guys know, making something go front is making it darker. Typically. And if you want to make something go back, then you will make it lighter. 

P43 - 10:49近处的黑，远处的暗。 

You'll see that I'm trying to make sure I'm hyper accurate with the shadows are cast by objects. 

P43 - 10:55投射阴影的物体。  

And when I finished logging them out, I also blur them using motion blur ever so slightly. 

P43 - 11:02加入动态模糊。  

This is also the part where I realized that I really am not a fan of that green shadow color. So I choose a completely new reference image and I start to add a completely new colors in the shadows. 

P43 - 11:15新的参考新的色彩。 

The only reason that I'm able to do this at all in the first place is because of the fact that my shadows and my lights are on completely different layers. 

P43 - 11:23因为锃亮暗黑在不同图层。 

That allows me to easily change my colors to whatever I want. 

P43 - 11:27我可以轻易调节颜色。 

At this point, I also make sure that I have two different layer groups for both my lights and my darks, 

P43 - 11:34锃亮暗黑不同图层组。 

as I previously showed in all of my other previous pieces, i'd change my colors finally to a brand new reference image and with my shadows in a solidified place, I begin now to add my light effects, before I move forward with some of the final touches also the painter overs, 

P43 - 11:51暗黑后锃亮，最后喷涂。 

because number one, we need to make sure that we give this area a lot more love than it is currently receiving. But I want to give off the illusion of light really quickly.  

P43 - 12:02光的幻象。 

And let me show you a wonderful trip to do that. So going to the top of my layer, let's call this, I'm gonna call it light rays. 

P43 - 12:08顶层命名为光线。 

So you can also call it god beams. Because when you look at when the sunlight streams through a window, you will often be able to see this almost like holy light coming through the windows, like it's shining a beacon and sometimes, obviously, windows don't really show off the screen in sunlight. 

P43 - 12:29光线从窗户透过来的，默默无闻。 

But when you have it in a painting, it just feels a lot more atmospheric. It feels nice. So we're going to add it in for affect. 

P43 - 12:40但是窗户存在光线来源，氛围感。 

This is one of those like little tricks like tips and tricks that just makes your painting feel a lot more finished. So what I simply do is, I try to see where the Top of my window is going to be. 

P43 - 12:51顶部窗户来源。 

So assuming this door goes all the way up here, that my light would come probably somewhere here. But I want it so that it hits Cinderella at a bit of an angle. 

P43 - 13:04光打在主角上。 

So I guess I could actually let me just take this away and start from here and make sure that I really cast against Cinderella, because that way she'll be able to cast a slight shadow, which would be a fantastic effect later on.  

P43 - 13:17从背面打过来，主角身上有阴影。 

So I'm just going to wrap all of the light ending here, going up here. Fill it up. I'll take my paint bucket and it's gonna cover a lot of stuff. 

P43 - 13:29喷涂可能覆盖很多物体。 

But don't worry. We'll be able to take those things out. And just like just a blob of light, very attractive. And then I turn it to screen. 

P43 - 13:36一大束光变成屏幕模式。 

I also lowered the opacity. So maybe it's like around 40, 32%. 

P43 - 13:42不透明度降低百分三四十。 

Then I go to filter blur, motion blur. 

P43 - 13:47过滤 模糊 动态模糊。 

I set the blur up to kind of the whichever direction. So let's say that your light is heading this direction. Then I will go in the opposite direction from my blur. 

P43 - 13:59模糊方向和光线的方向相反。 

I'm going to give it a pre fixed distance. And then here’s the magic starts. You take your eraser. You get really big super, super big and just gently erase out. 

P43 - 14:17很大的橡皮擦，轻柔的擦掉。 

And you have light. its so easy. I'm gonna remove a bit of the screen just wherever the light kind of isn't hitting. 

P43 - 14:27移除掉屏幕上不该被模糊的地方。 

But because light is streaming through all of this, it's kind of hard not to sunlight in because no matter where does light beams coming in, So I don't really need to worry too much about where to erase it, whatever you feel like, the effect is a little bit too heavy that you can feel free to erase it a bit. 

P43 - 14:42阳光太强了可以擦掉一点。 

But now light is coming through the window or I should say the door. It really is a door.  

P43 - 14:49光从门透过来。 

But I'm gonna do the exact same thing. But to these windows over here. The one thing that you want to be sure though, is that you see how our light Ray came at an angle like this? 

P43 - 14:59这是光束形成的三角面。 

Well, we want to make sure that these light rays also follow the exact same angle. 

P43 - 15:06视角要一样。 

Let me just quickly get rid of these two, and roughly grabbed the same angle. Go to my window. 

P43 - 15:15两条线勾勒出光到窗户的视角。  

Let's so lowering down the opacity, turn it to screen. 

P43 - 15:23降低不透明度，改为屏幕模式。 

And you can do lighten as well. Or you could even honestly just do normal color. 

P43 - 15:29锃亮或者普通着色都可以。 

It's completely fine. Whichever you find works best for your piece.  

P43 - 15:34找到适合你的方式。 

moving it a little bit. Blurring it. motion blur. I also want to make sure Cinderella isn't affected. And now light is really streaming through everything. 

P43 - 15:51光束穿透一切的感觉。 

Of course, it's still not quite finished because I want my colors to feel a little bit more akin to my reference image here. 

P43 - 15:59颜色要类似于参考图。 

So now here's the fun part where you get to go in and do touch UPS. Painter over and all of that possessed. super quick. I knew I was also touching my bucket here. Not a good thing. There we are. That's better. 

P43 - 16:12光触碰到前景黑桶，修复一下。 

I also notice that there's a little bit of a dichotomy here which will be touched up in my paint over. So no problem. 

P43 - 16:19花开两朵各表一枝，修复下。 

I also want to be able to add some light effects. You see how there's this really nice effects on the floor from this image here. I'm just gonna go ahead and actually photo bash some of those effects in. 

P43 - 16:31树影斑驳的，用套索借来用。 

This is kind of you could totally make this by yourself. It's really not that hard.  But having a photo, I feel like the funner faster and a little bit easier. We have the technology. Why not use it? After fiddling around a bit with some more godly lights and adding some more of that atmospheric light in, 

P43 - 16:54加入一些氛围感的微光。  

I do exactly what I said I was going to do, which is a photo bash in that light affect. Where is the trees casting a bit of a shadow onto the light portion? 

P43 - 17:05树阴影在光束里斑驳。 

So you have this dappled light effect. Turns out that the picture, the photograph itself wasn't doing the trick for me. So what I simply did was I picked out the light portions and then I repainted them and colour dodge to get that same double effect. 

P43 - 17:23套索 改绘 颜色减淡。 

But not in the same way the photo did. Essentially, I have to repaint it.  One of the things that I really want to repaint, as well as Cinderella’s face. This is because human faces don't look very good. If you have a more darker colored shadow. Human faces look the best when they are covered in a warm shadow. This is why the golden hour is so coveted in photography because the human faces just lit up with this warm glow. 

P43 - 18:15人脸在暖光阴影里。 

And all faces of all colours look fantastic in that color of sun. Therefore I go in to completely repaint pretty much all of Cinderella. I fixed her hair, her clothing, I give it more texture and accurate shading. 

P43 - 18:28衣服面部 纹理和阴影。 

And I also go in to fill out little details like her rags, her shoes, her hands on the part of her bucket.  

P43 - 18:37手 鞋 抹布 木桶。 

She’s definitely looking so much better now. you'll notice that I do paint over stuff quite a lot. One of those things is painting in some additional sub surface scattering for our plants, 

P43 - 19:01绘制植物的细枝末节。 

because they are so close to us in the screen. I want them to have some more additional detail than simply being a pot there. 

P43 - 19:11前景的花盆需要一些细节。  

Don't be afraid of going in to repaint this stuff because the more detail and finesse and care that you put into a piece, the more that people will be able to sense it too. And that makes the painting feel more finished and feel more full. 

P43 - 19:24让人物圆润饱满。 

You'll see that I'm doing exactly that. When it comes to the windows. It was not fun to repaint over all the windows, but it was a complete necessity. And my piece feels better for it. Like I said, that place definitely needs some TLC. 

P43 - 19:42光线从镂空窗户射过来，重新绘制。 

I now re add the lights, said that turned them off originally to be able to do my color painting. And I use this overlay layer to add this nice orange glow that you see that sunlight creates on wood.  

P43 - 19:50重叠 太阳光在地板。  

On Top of that, I'm just middling in some extra finesse and detail, such as a reflection on the table and a little bit of light streaming through on the side of the jar.  

P43 - 20:12桌面漫射。一束光透过罐子侧面。 

One thing I noticed that was in my reference piece was this really nice tree. Because the entire reason why we have this dappled light coming through the door is because it should be caused by tree leaves.  

P43 - 20:23树影斑驳，需要有树叶。 

Therefore they made total sense for me to add in a little tree right outside the door. 

P43 - 20:28门外面有树非常正常。 

After that, I go in to add some additional lights and additional dark with both screen and multiply. 

P43 - 20:35屏幕和多重模式。 

And finally we arrive at what is always my favorite part, which is color balance, color lookup and selective color, going in to filter out piece to the final destination that we really want. 

P43 - 20:48颜色平衡 查找 选择。 

And even though we're so close to the finish line, there are still items in pieces that I want to draw on Top of and finesse with a little bit more. 

P43 - 20:57再稍微巧妙的处理。 

But other than that, my piece is at a finish. Let's take a look at the finished result in a next video. And do a recap of what happened.