How Do You Make Things Look Like Theyre Glowing in Art Paper With a Color Pencil
Index
- Intro
- Sketch
- Rough Color
- Lighting Final
- Sketching in Light
- Painting Light
- Detailing
- Special Effects
- Decision
1. Intro
In this tutorial, I'll be walking you through how to create a magical portrait, starting from the composition to the lighting, then adding spellbinding effects to your portrait. The main focus will exist on tips and tricks to make your portrait fantastical and middle-catching.
For this tutorial, I'm using Clip Studio Pigment, a versatile software for illustration, comics, and animation.
2. Sketch
To start, I went with a horizontal composition, mostly because it's easier to prove for a video. Since a horizontal limerick emphasizes horizontal lines, in this case, I decided to make the hair one of my main focal points and stretch it out to make full the canvas. I and then settled on a symmetrical composition to give a sense of stability, peace, and placidity. For many people, 2020 has been a tough year and wanted to practise something uplifting. All of the curved shapes also help emphasize repose and harmony. The choice of flowy clothing and organically-shaped accessories likewise support this idea. Since all of these agree, it amplifies the intended consequence of the limerick. I would not add straight lines to a painting like this unless there was a proficient reason for it.
3. Crude Color
Sometimes I experiment with several color schemes, but I already knew roughly what I wanted for this painting. The gem in the middle will exist some sort of opal or irised quartz, a lot of light blues and pinks.
Since I'm centering the character around this crystal, a nighttime night-themed background will accommodate it well. The background is a natural dark color to support the feeling of tranquility. A unlike color could be interesting but would draw more than attention to the background, which is not what I desire in this case.
Because this question comes up a lot, I pretty much just use these brushes for the whole painting unless otherwise specified!
4. Lighting Last
Information technology'south not always necessary, but if I'm working on something in an organized style with a item thought in mind (instead of experimenting as I become), it's a pretty expert thought to separate every bit much as possible while still respecting the original idea. Painting the light separately lets me focus on simply the lighting, experiment with it, and make mistakes in a piece where the lighting is extremely important.
Most of the details at this level are rendered out with a soft frontal low-cal. I continue all the values quite low considering the higher values are reserved for the glow. In the color wheel, this is the lower-left area of the triangle.
At that place will be some other detail pass at the end. For this pass, the important thing is to have a make clean base of operations to work from.
I apply a webcam selfie as a reference for the hands. I've used this method for a long, long time, and it has never failed me. It is very reliable and a lot less embarrassing than asking a friend.
5. Sketching in Calorie-free
I roughly sketch in the desired lighting using an Add together Glow layer.
You tin can experiment with which layer to utilise specifically (betwixt add together and dodge), but I thought this worked all-time for this piece. Here's an example of how these can await quite dissimilar on the hands, yet still all accept the effect of making something expect like it is glowing.
This step is completed on separate layers and very chop-chop, and one time it's washed, the piece starts to come together. If I zoom out and squint, the image is really eye-catching. For a magical portrait, it's essential to have things glow for absolutely no reason at all. In this slice, I'yard defining the glow as the gem and the under office of the hair. This has the do good of highlighting the magical floating hair, the similarly floating gem, the face, and the hands. I use the lighting to emphasize parts of the paradigm that I would most like the viewer to appreciate.
6. Painting Low-cal
After sketching in low-cal, the next step is to clean information technology upward and make it fit the existing image. Sadly, this takes way longer than simply sketching in the low-cal, but for a painting to await polished, it'due south an important step. The key to making something glow is a mixture of hard and soft light. The actual part that glows needs to be very, very bright.
The flat-lighting image from the previous stride has less dissimilarity, and all the color values are in the lower half – in other words, they are closer to black than they are to white. I reserve the college range for the glowing elements. This makes upwards the hard part of the glow. The soft part is merely taking these glowing lite sources and diffusing them into the surroundings. The simplest mode is to airbrush everything, merely the function that will take the image to the next level is when we pay attention to materials where low-cal is partially blocked, like clothing, hair, and peel.
The colour I use to paint in the Add (or Dodge) layer is in the lower one-half of the color wheel value. Why? Well, the Add layer mode adds the value of that layer to all the layers underneath. My layers underneath accept values up to 0.5, and if my Add layer is 0.5, and then I end upward with values upward to 1. ane is the brightest yous tin can go in an image – if your values exceed ane, it ends upwardly beingness over-exposed, a very common fault. In one case an epitome is over-exposed, it starts to lose detail that you lot would have to paint back in later, but information technology is easy to adapt an under-exposed epitome's brightness.
Here's an example of what it looks like if you paint in the Add/Contrivance layer with too brilliant a color. You lot can run into a lot of the area turns pure white, losing all item that was there before.
We all know that if you agree up your hand to the sunday, it looks super red. Similar phenomena happen with pilus and light material. I won't go likewise technical hither, but looking at references for these phenomena and incorporating them into your painting tin take an epitome from good to great. Here I add together some red subsurface scattering to the hand.
The lighting needs to be articulate when yous're zoomed out at this stage, but the details will be fixed subsequently. Information technology's important to consider how the extremely bright light affects the rest of the scene. The pare will be lit, the metal, cloth. Additionally, the light in the hair spreads out through the rest of the hair equally well. Alongside calorie-free, information technology may be necessary to add some additional shadow based on these new light sources. I use an overlay layer to shade places where I don't recall these lights impact as much, adding contrast to the overall epitome.
7. Detailing
I use the Droplet airbrush to add some stars in the background.
For the face, I zoomed in and brushed on some sparkle with a dissimilar airbrush. I proceed to paint on Glow Contrivance or Add together (Glow) layers to add more strong light to the confront. One time I'm satisfied, I repeat a similar process for the torso and a picayune on the article of clothing.
At this point, I too take some time to clean up some details, such as lines and colors that aren't where they should be. At that place's not much to explain here. Information technology'southward mostly something that comes from experience. The details make the painting more pleasant to look at over a long period of time.
8. Special Effects
At this signal, the image is by and large washed – nosotros just need to add together the finishing touches.
I used this brush ( https://assets.clip-studio.com/en-us/item?id=1752622 ) from Clip Studio Assets; it has a rainbow design with an iridescent look. I use the radial mistiness to brand the effect look like it'southward coming more from the middle of the prototype and set the layer blending mode to Color Dodge to make it look like it's glowing.
9. Decision
Thank you for reading! I hope this tutorial gave you some ideas on how to brand your adjacent painting extra magical.
Grace Zhu
https://gracezhuart.com
https://twitter.com/gracezhuart
https://world wide web.artstation.com/gracezhu
Source: https://www.clipstudio.net/how-to-draw/archives/162569
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