Computer Arts - USA (2019-09)

04 05

WORKSHOP

COMPUTERARTS.CREATIVEBLOQ.COM

SKETCH THE UNDER-LAYER

Creating the under-layer is my favourite part of

my process – this is where the piece really gets

interesting. I usually try several different ideas

and compositions. The skeleton is something

I’ve drawn loads of times, so I feel pretty

confident drawing it freehand. I will use the faint

upper layer as a guide.

For the crows and snakes, I use reference

images the same way I did for the upper layer

drawing. I ink them before moving on to the

skeleton. That way I can move things around

if the composition isn’t working.

DEFINE THE FIGURE’S INK

Once I’m happy with the composition, I ink the

remaining sketch and paste it into a mask, just

as I did before.

ADDING SHADING AND TEXTURE

Now that I have my red and blue layers where

I want them, it’s time to add some shade and

texture. I used to create my own custom brushes

and textures for years, painstakingly scanning

ink splatters and grainy textures.

Then two years ago, I discovered

True Grit Texture Supply (https://www.

truegrittexturesupply.com) and haven’t looked

“When the

shading values

are looking

great, it’s time

to add some grit

and texture”

back. True Grit has some of the best print-

quality, high-resolution Photoshop brushes

on the market.

SHADING

While shading, I like to focus on one layer at a

time. This way I know that each layer is solid on

its own. On the red layer I’m using one of True

Grit’s half-tone shader brushes with 45-degree

dots. I love how I can immediately achieve a

vintage half-tone texture. On the blue layer I use

a 90-degree line half-tone brush, also from True

Grit (I promise they aren’t paying me...). All of

this takes place on the layer mask.

TEXTURE

When the shading values are looking great, it’s

time to add some grit and texture. My goal is to

create a worn-in and rugged appearance that

mimics weather damage.

I want the piece to feel like it has been

forgotten about or lost to time. However, it’s

important that I don’t go overboard on this

step and that the distressing on both layers

complement each other.

The opacity of the layers has been played

with a lot at this point, so I want to make sure

things look random and not too planned-out.

SEPTEMBER 2019