All right so let's move on to a little bit more complicated of a still life.
It might seem sort of monotonous or intimidating but doing these still lifes is a really great way for
you to get a good handle on lighting and form of an object.
In fact I'd say it's probably the best way even though it can feel really daunting.
So let's go ahead and just jump in.
I have my liner on one layer and I have my image on another layer in my reference photo and then I'm
going to be painting on a third layer that is below my liner.
But before we do that I'm just going to lower the opacity in my liner so it's not as strong and so I
can paint underneath it and then let's get to painting with her painting later.
I'm just using a let's see this is one of these standard brushes and Photoshop it's called Kyle's real
oils round.
That's what I'm using to paint with.
You can do it with whatever you want.
You can use a normal round brush like Jason used in the last lecture.
You can use something else.
Whatever works for you.
So let's go out and get painting.
I'm going to actually start on this one with the background and then we will paint the rest of the image.
So let's go and get rid of this and we're just gonna come in here.
Oh you know before I do that I won't actually change my drawing later multiply so I can still see it
underneath some of the darker areas.
All right.
So we're gonna start painting here.
Let's start with the background because then once I kind of get that other way one that's just sort
of a really easy typically simpler thing to do.
It also gives me a basis for where the rest of my colors are coming from in the scene.
And then I can just paint on top of it.
On a separate layer and not really have to worry a ton about where my colors are coming from
got a little bluer and then something I'll probably do throughout this it's actually move this down
to the lowest layer is go back and forth between what I'm what I'm painting over here and then what's
actually over here on the other side so that I can practice getting an accurate color
like that so it's going back and forth until I find the right one maybe a little lighter
and like I usually do we're gonna start really loose and this block in large sections of color and then
slowly work our way to more and more refined pieces.
All right.
So what I'm going to go ahead and do is time lapse is for a little bit of light work on the background.
I'll go ahead jump back in if I have any notes of things I want to add.
And then once I finish your background we'll start talking about the actual skull part.
So go ahead.
You know if you want posit at this point and paint along you can do that but I am just going to jump
in and start work on that.
So she hasn't minute.
All right so let's we're going to take the background to right now we're gonna come back later once
we have some more values blocked it on the face but I think that's enough.
Very good starting point.
Have a color picked for the school and we are just going to start blocking that in and then we're gonna
sort of be working away back and forth between the school and the background from this point on just
kind of trying to hone it closer and closer.
Like I said always start loose and then work your way tighter.
I'll save you a lot of heartache and it'll actually I think make the whole entire process go faster.
So I will see you guys in a second.
All right.
You can see it's coming along here.
We're getting a little bit further into the shadows as we can start to
define it a little bit more you can see how I've still been trying to keep it pretty loose.
You don't want to start working on details so we get as far as we can really you can see I kind of started
a little bit details and I stopped several as I was getting too tight with my rendering.
And so what I did was and what I'm continuing to do now is just looking at the big huge overall shapes
of this image and starting with that and then slowly working on smaller and smaller shapes the big huge
holes the eye sockets
you know stuff like that.
The some of the spots or the nose cheekbone meets up with the rest of the face
I'm just taking my time.
Still I saw something that you can't really rush and you can.
But it's not going to turn out good.
You're not going to learn a whole lot so just learn to be patient and take your time.
Keep working at
as you get closer and closer to what it is you're trying to accomplish.
And try picking your own colors if you know you know you might have seen me pick a color and then compare
it to the painting red painting on top of my reference I meant to say I close I was totally go ahead
and feel free to do that.
I might color pick a few colors here and there to kind of speed things up a little bit since I'm recording
this.
But Amy it's not the end of the world if you color pick either but it does definitely help you get a
little bit better at finding colors yourself if you don't.
But we're gonna go ahead and go back to time lapse here and I'll see you guys in a minute.
Well
Paul
Bob Bob.
Bob
Bob.
Bob
Bob Bob.
Bob.
You all right.
So I think we're right about finished.
I kept the back on a little loose Dink.
You know this kind of smudges and stuff in the reference photo but I'm not going to worry about that
bill.
Let's go ahead.
I'm going to.
We can turn this reference letter off and I'm going to have my line at layer off as well we're going
to go ahead and blow up this whole page here and we can look at this a little bit closer.
So let me go ahead and crop this
all right.
So let's check this out we have some things here that I want to point out that we could talk about.
So a couple.
First I want to point out is I mean I'm going to get a little colored mark with here so you can point
things out one of the things I want to point out is edge control.
I tried to keep the edges on this side of the painting a lot more crisp than I did on the backside because
in the reference photo it kind of blended back here and I also want this area to be the focal point
and so a lot of edges here are a lot crisper with these sharp highlights on the nose and around the
eye than some of the stuff back here.
I love this sort of be soft and just kind of blend into the background.
Nothing I want to point out was the subsurface scattering going on this image.
So this eye socket right here if this skull is completely opaque no light could pass through at all.
It would be a lot darker would be a lot closer to this but because it has a little bit of translucency
through it some of the light is coming through and bouncing around inside the eye socket which makes
it look a lot lighter and also suddenly sort of warmed up a little bit because the resin that the skull
is made out of had a little bit of a warm hue to it.
Same with the nose you can especially see right here along the bridge of the nose there that there is.
It gets really saturated compared to the rest of the skull.
And that's because light is coming through and the plastic it's really thin there and same right here
you can notice it just a little bit.
So that is an example of subsurface scattering in an action.
Another thing I want to point out was the inside of the skull the reason why it gets really dark here
and then lighter in the middle is actually not subsurface scattering that is reflected light that's
like coming down off of the orbital bone here and bouncing back up into the skull to sort of creating
that effect.
It's something that definitely takes practice to just be able to create out of your head when you're
making your own images.
So I recommend doing life studies like this and practicing and being able to learn how to do that.
You can also see a little bit of subsurface scattering inside of here where the light is kind of bouncing
around inside the skull.
I kind of rush to the teeth at the end so we get this finished.
I mean they're kind of sloppy I probably could clean them up a little bit but I think it gets the message
across.
Yeah.
Then like I said the last thing I did was a little detail seeing these little cracks on the skull things
like that.
These individual highlights to kind of help sell the final image.
So that is it for this lecture and I'll see you guys in the next one.