Lighting and Atmosphere - Grasslands

Here's an older speedpainting I did from mid 2011. I wanted to share this because this was one of my first attempts at some lighting & atmosphere techniques and I recorded the process. A few people have asked me about lighting and atmosphere so I figured I could talk a little bit about it here. I tried to put commentary on the video, but I couldn't figure out how to get it to work, but the video demonstrates it a little bit at the end.

I always try to get some sort of interesting lighting scheme. Sometimes I get realistic lighting, and sometimes I prefer to get what's called "stage lighting". Meaning you normally wouldn't see lighting like that in real life, but it works great for compositional purposes. For example, when you see a movie and a person's face is fully lit from all sides, yet so is the person they're talking to who's facing them. Where could that light possibly be coming from? Or to a more extreme level, when you play a video game and there's always a light in the direction that you're supposed to go. Where as in real life it might be harder to find that door to the next area. The lights are designed to lead your eye a certain way, lead your character a certain way, or set a mood. This is "stage lighting" because it's fake, believable light that serves as a compositional tool.

In the example above, I didn't necessarily have a purpose for the lighting, but it was more of a test to see if I could get some sort of mood and atmosphere with it. To achieve this I paint the character and the background in fairly flat, darker colors. Once the values are all there I use a "color dodge" layer in photoshop to paint some hot spots on the robot. I hardly use "color dodge" anymore and I don't recommend it unless it's used VERY lightly. After that I make a new layer and set it to "screen" and with a soft brush I start painting in light coming from the top right. "Screen" layers are GREAT for lighting and atmosphere. The reason is because a "screen" layer mixes the color you've chosen with the background, but also lightens the background and diffuses it as well. In real life, atmospheric perspective does the same things. Like when you see mountains that are far away, they are usually just a blue silhouette. The blue in the atmosphere mixes with the colors of the mountain and also the dark and light contrast fades away as well. After adding the lighting with the screen layer I then add a shadow layer set to "multiply". I pick a blue color for this to not only compliment the yellows and oranges, but to show the shadow is much cooler than the light. This happens in real life too, you'll notice a lot of times shadows have a blue or purple tint to them. "Multiply" layer is almost the exact opposite of a "screen" layer. It mixes colors with the layers below, but it darkens them. Great for shadows. This not only balances the composition but makes the light seem brighter and hotter than before.

Lastly, for added atmosphere, I always like to throw dust and particles into the atmosphere. Showing different levels of particles in the foreground, mid ground, and background gives the feeling of depth. Rain, snow, bubbles, dust, fire embers, all of these help make the subject matter seem like it's in a 3D plain rather than a 2D one.

So I hope that all helps! I'll do a more in-depth lighting tutorial later on so watch out for that. And last, but not least, here's the video of this painting.

Speedpaintings

Here are some speedpaintings I've done recently. I've been working on my portfolio so the only time I have for personal art is just a few hours which is perfect time for speedpaintings. What are speedpaintings exactly?

Speedpaintings were invented by concept artists in the film and video game industry. Everything you see in a movie or a video game, down to the lighting and colors used in the shot, started with an artist. In the entertainment industry there is not a lot of time, and a lot of deadlines, especially for artists. So in order to crank out more artwork, artists started doing speedpaintings. Speedpaintings generally take from 30 minutes to an hour or two. The point is for a painting to be finished enough to get the point across. Not a lot of detail, mainly implied detail. The things artists need to get across in this amount of time are design and mood usually. Sometimes one over the other. So colors and shapes are most important during this process, not details. Over time, artists learn to imply details using quick textures or brush strokes.

If you were to zoom in on the speedpaintings shown here, there really wouldn't be very much detail at all. Each of these paintings was done in an hour or two. Speedpaintings are also great for practice, and warming up before doing other work. In the examples shown here, I was mainly practicing lighting, color palettes, and composition. Three very important things for production work. A lot of times, an artist will do several speedpaintings to help decide how their final piece will look. For example, I could take one of the paintings shown here, use everything shown, color, composition, and lighting, and just refine it to the point of being a fully finished painting, details and all. All of the hard work is already done for me, it'd just be rendering and detailing from there.

So speedpaintings have many useful purposes. For another great, more in-depth article on speedpainting with some other great examples, click here. Remember, a speedpainting's main function is to get a point across, and not to serve as a finished painting. Use it as a tool, and not as a crutch. Keep drawing!



-ZhouRules (Chris Shehan)

Painting A Novel Cover

A couple months ago I was hired to paint the cover for a detective novel about an Armadillo detective. I obviously couldn't turn it down because that just sounded too fun. I've done a few covers in the past, but mostly for comic books, though the process isn't really different. The client has an idea, I sketch it out, he asks me to make changes until he likes how it looks, from there I paint the cover, turn it in, he asks for a couple minor changes, I fix it, and it's done!

I'd like to talk about how to get cover work. Most publishing companies nowadays like to save money, so covers are no longer painted, but are badly Photoshopped photos (or the rare good Photoshop job). They do this because it's cheaper and faster mainly. I have nothing against photo-manipulation at all. I see it as an art form in itself. It takes talent to do good, and it is used in almost every feature film you'll ever see. But for us illustrators, it's taking our jobs away. So some publishers are now seeing the value of digital painting. It's not as cheap as a quick Photoshop job, but not as expensive or time consuming as commissioning an oil painting. Don't get me wrong though, some publishers will commission an oil painting for a cover and I'm glad they do, because traditional illustrators need work too! All of the above applies mainly to novels and other books like that, not comics. Comic companies hire nothing but artists, from traditional to digital almost 100% of the time.

If you're looking to being a cover artist, there are a few things you should keep in mind. They say "You can't judge a book by it's cover.", not just because we shouldn't, but because we do all the time and were almost always guilty of it. Of course, after reading the book things change, but a cover that catches our eye pulls us to one book over all the others on the shelf. That's power. Power that you now have. Sadly, a cover could make or break a book. Major companies pay millions a year to make sure that their sign, logo, ad, commercial, etc. catches the eye and attracts customers. Publishing doesn't normally have that much to spend, so they'll usually just hire an artist that's good. Though, they do hire great editors that have an eye for what's good and what will sell a book.

One big that that separates some covers is color to no color. If you're going to be an illustrator, work with color. Or collaborate with someone who does. The color scheme alone could sell the cover. So know your color theory and study other covers to see what they do that looks good.

Another important thing to remember is it has to be finished. And what I mean by that is, the cover should not be a sketch. It should not be too messy. If it looks unfinished it will feel unfinished and the human eye will skip right past it. Think in details. Don't leave any important details unfinished. But also, you don't want to have too many details. A lot of times you'll paint something big, add the details, and it looks great, but when printed small, the details are lost and it just looks muddy. Also, too many details could confuse the human eye. You don't want them looking at your cover for too long trying to figure out what it is, but you don't want them looking at it too short so they lose interest and go on to the next book. You have to find a nice middle ground that makes them want to look at it, but still be able to tell what it is from across a room. The best covers are simple enough to understand right away, but complex enough to be intriguing.

Lastly, composition is VERY important. Always make sure there's room for a title and author credits. Some authors like Stephen King like their name REALLY big and the title, almost as big. So make sure there's room for that. Make sure the artwork flows with the title. In the west we read left to right, top to bottom. The same applies with art. In illustration, a lot of times we have to combine text with art. A comic page or a cover are no different. The art will catch their eye, but they'll read the title before looking more at the art usually. Make sure the art reads left to right, top to bottom (though it doesn't always have to). Make sure the composition shape and framing suit the book. Apply the rule of thirds whenever you can (for anyone who doesn't know what that is, it's a photography technique. I'll create a tutorial about it later one, but for now you can always Google it for more information.). Art is a universal language, but a language none the less. You have to be able to read it. You have to be able to see everything going on, but it should flow nicely. And by flow I mean your eye shouldn't be jumping randomly all over, it should go from one thing to the next. One trick to that is detailing only the important objects in a piece, and having less details in the unimportant parts. So your eye stays at the detailed parts longer, then moves faster across the undetailed parts to get to the other detailed parts. Little things like this you'll figure out and learn along the way.

There's a lot of money in covers and a lot of great illustrators make a career out of it. If that sounds like something that suits you, practice what I've mentioned above. Study other cover artists and see what they're doing that's working. I'd love to go to a book store and see more artwork on books. So keep drawing!


Here's a quick tutorial of the cover I did recently.

Improvement Calendar

This is my improvement calendar for 2011. I recommend all artists do this. It not only gives you a look back at the year to see your mistakes and what you learned. But it helps you plan for the future. Also, a lot of times with our art we think were going nowhere and it can be frustrating. But if you really look at each month or each year side by side, there's almost always tons more improvement than you realized. So for the new year, make an improvement calendar. If you make one, link it here, I'd like to see it!

This was a good year for art. Lot's of epiphanies with my art, process, portfolio, and the way I was going about breaking into the industry. 2012 is gonna be great.

 

January- Inspired by Feng Zhu. wanted to start the new year off with some mattepainting practice. Somewhat successful for a real first attempt.

Febrary- Attempting realism with zero reference. Discovering that realism lies within lighting more than anything.

March- Trial and error with painting realism.

April- Decided that I needed to go back to traditional. I was getting much better at painting than I was with ink and I didn't like it so I put digital aside for a couple months.

May- Took a comic art class with Robert Atkins. Learned a lot.

June- Decided to take my career seriously and hit up my first convention without the Hell Paso crew. Master Inker Ben Jones helped me a lot at my first con as an independent artist.

July- Got some good freelance work and did a couple of tryouts on books.

August- Started painting again. Somehow improved even though I took a break from painting. I started realizing more that my painting and use of color was much better than my inking and I shouldn't try to avoid it. It's my niche and it's something I have that's unique and rare. So I made a decision to rebuild my portfolio from scratch and showcase my painting and color use and try to break into comics as a digital painter.

September- Reworking my painting process. Trying to find something that works best for me. If I'm gonna paint sequentials, production paintings, covers, etc. I want to have a process that's not trial and error so I never get stuck and I'm comfortable with what I'm doing. Used the upcoming EPCON and the Gears of War contest to help me with that.

October- I got a 21UX Cintiq for my birthday! I'm able to paint much more accurately and with much more detail now. Spent this month testing the level of detail I could get with this Cintiq. I had been using a Wacom Graphire since 2006. I'm much more comfortable with the Cintiq. No wrist cramps. Comfortable posture. Accurate lines. Etc. I'd recommend it to anyone serious with digital art. Though you don't need it to be good.

November- Trying multiple painting processes. Finally figuring out one that could work best for anything I do and is very comfortable.

December- Finally testing the new process on a sequential comic page for The Darkness contest. I now have belief that I can paint sequentials. I used to never thing I'd be able to do it very well.

 2009 and 2010 Calendars

 

And to that I say Happy New Year to everyone! Let's make 2012 a great year for art!

-ZhouRules (Chris Shehan)