Einstein Caricature process - Tutorial
Like most great paintings (and all of mine) this image began with a sketch, normally I'd begin with a pencil sketch but to save time I sketched digitally this time. After a few different ideas for how and what to exaggerate I ended up with the sketch shown below.
The next stage after the sketch is the initial block in. I do this using a multiply layer as I find it the quickest way to establish my values without losing my sketch (For this image I began blocking in in black and white as I had already decided on a sepia/old time photograph colour scheme for the image, which is easiest achieved by washing colour over a greyscale image).
After the block in, we begin the painting. I start by using the largest brush I can get away with, using broad strokes to tweak the values and begin to describe the form. From then on it's just a matter of refining and tweaking values, and beginning to establish focus by refining and losing key edges.
-Edge play is one of the most important aspects of painting, and one often neglected. Thinking about your edges is one of the best ways to direct the eye and draw/lose focus within an image.
As the painting progresses I begin to use smaller and smaller brushes as I move into the finer details, the smallest brush of all is used for the tiny reflections in the eye.
When I'm happy with the values, it's time to add colour! When I do work from a greyscale image, I prefer to add colour gradually using the selective colour tool. To do this, simply flatten the file (I usually duplicate the file at this point so as not to lose my layers), then go to 'Image' - 'Adjustments' - Selective Colour'. Select neutrals from the colour box, then begin to adjust the sliders to get the desired colours. Repeat for the whites, and blacks from the colour box until you reach something you are happy with.
After the selective colour process, I usually adjust the colours using colour and overlay layers until I have something I'm happy with.
The last step for this image was to add the text.
The next stage after the sketch is the initial block in. I do this using a multiply layer as I find it the quickest way to establish my values without losing my sketch (For this image I began blocking in in black and white as I had already decided on a sepia/old time photograph colour scheme for the image, which is easiest achieved by washing colour over a greyscale image).
After the block in, we begin the painting. I start by using the largest brush I can get away with, using broad strokes to tweak the values and begin to describe the form. From then on it's just a matter of refining and tweaking values, and beginning to establish focus by refining and losing key edges.
-Edge play is one of the most important aspects of painting, and one often neglected. Thinking about your edges is one of the best ways to direct the eye and draw/lose focus within an image.
As the painting progresses I begin to use smaller and smaller brushes as I move into the finer details, the smallest brush of all is used for the tiny reflections in the eye.
When I'm happy with the values, it's time to add colour! When I do work from a greyscale image, I prefer to add colour gradually using the selective colour tool. To do this, simply flatten the file (I usually duplicate the file at this point so as not to lose my layers), then go to 'Image' - 'Adjustments' - Selective Colour'. Select neutrals from the colour box, then begin to adjust the sliders to get the desired colours. Repeat for the whites, and blacks from the colour box until you reach something you are happy with.
After the selective colour process, I usually adjust the colours using colour and overlay layers until I have something I'm happy with.
The last step for this image was to add the text.
| einstein_process.jpg |
Little Red Cap - Hidden
This is a far messier way of working than I use now, I produce a final drawing after the thumbnail before I begin painting and blocking in. However the basic approach is the same, initial thumbnail, which establishes my lightsource and basic values, then straight into colour and slowly build up the details and saturation from there.
In this particular image I made some rather drastic changes throughout the process particularly with regards to lighting, I felt that the image made more sense (especially for a younger audience) to have a more obvious lightsource, and so introduced the open window. I also made some drastic changes to the characters but that was more down to me getting excited and not taking the time to fully work them out after the initial thumbnail stage.
In this particular image I made some rather drastic changes throughout the process particularly with regards to lighting, I felt that the image made more sense (especially for a younger audience) to have a more obvious lightsource, and so introduced the open window. I also made some drastic changes to the characters but that was more down to me getting excited and not taking the time to fully work them out after the initial thumbnail stage.
