Portrait of Nathan

Explain of the sketches

These are the steps I took while painting “Portrait of Nathan”. The sketch was drawn with a ball point pen
in a toned sketchbook. I used Photoshop CS and a Wacom Cintiq for the painting. The size of the painting
is 8.6” w x 10” h, at 300 resolution.
Step 1. After scanning my sketch of Nathan, I
choose Select All, copy that layer and paste another copy
of the Nathan sketch above the background layer, one
above the other. Then I switch to my background layer,
Select All again and delete the Nathan sketch from the
background layer. Now I select Layer Two which now
has my Nathan sketch on it and set that layer to Multiply.
Next I create a new layer above the Nathan Sketch layer
and fill it with a flesh tone. The flesh color I choose to use
in RGB Mode was R: 189, G: 127, B: 101. Then I bring
the opacity level down to 58%. I adjust the levels until
they feel right.
I do this to soften and lighten my sketch lines, this adds a
nice mid tone color and value. I do not always start with this
color, in fact, I hardly ever start with the same colors because
each subject I paint presents a new mood or feeling that
I want to
capture.
My photo reference felt cool and looked too green, I wanted
a warm painting so that is why I choose a red flesh tone
to start with. I tend to paint from dark to light, so the background
here is used as a foundation to build from.
Step 2. In step 1 I set the layer with my Nathan sketch
to Multiply. The reason is because now I can go to the
background layer directly under the sketch layer and block
in rough color and values without loosing my sketch lines.
The brush I start with is a 13 round. I make sure that Other
Dynamics is clicked on and that the Opacity Jitter is at 0%,
Control is set to Pen Pressure, the Flow Jitter set to 0%
and the Control below the Flow Jitter is set to Off. These
settings give me the control that I prefer. I usually paint
with my Opacity set to 85%-90% and my Flow set to 100%,
although this sometimes differs depending on effect. Make sure that Shape Dynamics is clicked off.
What I typically do in this stage is use my eye drop tool to select the
color I’ve created for the background and then use that color to begin
my block in. Remember, the top layer, has been completely filled with
a color (opacity brought down to 58%), so this means that when I block
in my painting in the background layer, I cannot get too dark because
the top layer will not allow it (you will need to experiment with this a bit
to get a feel for it). I do this so that I
can roughly build up my values in a
controlled manner. At this stage of
the painting, I am mostly concerned
about painting the correct values. It
is also important to know that in the
block in stage I never zoom in too
close. I paint from a distance and use only large brushes. This way I can
focus on capturing shape and values, I merely
suggest detail.
Step 3 For this next step, I create a new
layer that is put on top of the other layers. I then
set this layer to Soft Light, choose white from
my color picker and begin blocking in
lighter values. At this stage, I want to
control my lights, my goal here is to
softly bring in a little light and slowly
bring out shape and form. Because
my layer is set to Soft light, I cannot
get a pure white. Think of it as if you are sculpting, chipping
away small pieces until the form appears. I’ll usually save
my bright highlights and
whites for later on in the
painting and start first by
establishing my darks
and working lighter from
there. This stage is
simply for me to create
a balanced foundation
for my block in. Stages
1-3 take 5 to 10 minutes
at most to complete.
Tutorial
CGArena
Portrait of Nathan
www.cgarena.com Page 23
Step 4. This is where the painting becomes
a little more complicated. I am now ready to start
blocking my painting but first I need to create a
color palette that has harmony. As I said earlier,
my main priority is getting the values to look correct.
I know that if I can succeed in that, I can do
just about anything with the color. I want to create
a variation of red, yellow, and blue. As you
know, with these three colors most color can be
created. You’ll notice that in this painting I do
not have any pure colors, instead my colors are
more earthy.
To create this palette, I make a new layer that
will remain on top of all my layers from this point
on. This layer will be used as my “palette layer”.
I select my eye drop tool and eye drop a redbrown
color from my background. I then click
my color picker and choose a few more reds
based off the red-brown that I chose and create
a small grouping of flesh-like reds and browns.
I do this by squinting my eyes while looking at
my photo reference and then choosing color according
to the values I see while squinting my
eyes. When I squint at my photo reference I see
oranges, greens, violets, and blues. I create those colors and mix
my red-brown color into them to create harmony. This technique
is similar to the “pigment soup” technique that I’ll sometimes use
when painting with oils.
I now create another layer that will go directly under my “palette
layer” but will be on top of all the other layers. I now begin to paint
on top of my block-in. Everything up to this point will be used as a
guide for me to follow as I build up layers of color.
The first thing I want to do now is establish my darkest darks, and
block those in. I still haven’t zoomed in and I continue to use a large
round brush. My technique when painting digitally is very similar
to how I would paint traditionally with oils. Start with the bigger
brushes, block in largest shapes of darkest colors and as the painting progresses, use smaller and smaller
brushes. Also, never stay in one area too long, painting from a distance with larger brushes will help you
cover more ground quicker.
Step 5. Now this is where the painting begins to come
to life. I continue the same process as in step 4. Squinting
my eyes, I look for the lighter values and with a larger
round brush I block in lighter values. I have also begun to
block in a bit of the background as well. The background
is important to establish early on in the painting. It should
complement the portrait, the colors and values of the
b a c k g r o u n d
will affect the
colors and
values in your
portrait so it’s
important to
work back and
forth between
the portrait and
b a c k g r o u n d
while blocking
in.
Step 6. As the painting develops, I continue with the same
approach, squinting my eyes and mixing color to match the value
and temperature that I desire for the piece. Now I can zoom in
a bit and begin to render in details, such as the eyes nose and
mouth. I’m still using a round brush at this stage, but a much
smaller brush as I get into the details. Move around the painting,
blocking in the entire piece all at once, as to get a better feel of the
piece as a whole.
Step 7. I’m still using a
round brush. I have now started
refining detail in areas like
the mouth, eyes, nose, ears,
hair as well as shirt. I have
also added a bit more to the
background, increasing size for
a better composition. You can
start to see a softer transition on edges between values. I continue this
technique of painting until I feel the piece is finished. I have removed the
palette because I now have enough colors in my painting to work with. If
Tutorial
CGArena
Portrait of Nathan
www.cgarena.com Page 25
I need to change the value or saturation of a color that I already have, I simply click on the color picker and
mix or adjust my color there.
Step 8. Not much has changed in step 8. You can see that I have
now begun to add hair-like strokes to his hair as well as beard. For hair I
like to use a soft round, I make sure that I click on Shape Dynamics so that
I have a tapered point to work with. I have also started to use my favorite
Photoshop brush, brush #24. Follow the brush settings mentioned in Step
2. Brush #24’s marks and strokes feel more like a natural paint brush and
I use it as such, this is the brush I will use to finish the painting, with the
exception of a soft round that I use for hairs.
Step 9. With brush #24 I continue to soften
edges, adjust values and introduce more lighter
values.
Step 10. The shirt is coming along, although it is my intention
to leave the shirt a bit loose and sketchy. I continue
to develop the different shapes I’ve created. At this stage
I freely zoom in and out. Zooming in for details, zooming
out to have a look from a distance. It is important to often
step back from the painting. With this painting it was not my
intention to copy the color I was seeing in the photograph,
instead I decided to focus mainly on values while keeping
color temperature in mind. Squint your eyes for value and
open your eyes to see the color.
Final Step. The painting is all but finished in step 10
with the exception of the hair. First, create a new layer for
hair, this way if you need to erase a hair that doesn’t feel
right, it won’t ruin the rest of the painting. For hair, I paint
the large mass of value and shape that I see, squinting my
eyes, I block in the basic form or design of the hair. I block
it in a little bit darker than it needs to be. This way when I
paint smaller hairs on top in a lighter value, it will
give the illusion of depth. To add to this illusion, I
also change the size of my brush to differ the widths
of the hairs. I use a soft round brush with a tapered
point to paint smaller hairs. Keep it simple, study
what hair does and then make it more interesting.
Well, that’s it, remember to have fun, sketch, draw
and paint from life, as much as you can. Keep it
simple. If you look at the design of my portrait, you
can see that my shapes and forms are basic and
simple. When I combine strong values and color to
my basic design, the final appears more complicated
than it really is.
If this fails you can always push “Control Apple Jason”,
see if that does it for ya!

by : Jason Seiler, USA