Good digital painting tutorials are scattered all over the internet and it’s pretty annoying to find each one of them and then follow the instructions to learn the techniques that were part if its creation. Luckily, I like to gather similar resources in a single place to make it easier for me and others to use them, so I made this article with probably all the best digital painting tutorials on the net that will help make you a better digital painter.
Here’s how I do my painting. This is a work in progress so you’ll see the steps I do in creating a piece. Below is a quick sketch over a black background. Then I fill them with colors I am going to use. I normally place a palette of color beside the drawing so I know what the colors will be.
Painting pin-ups can be a whole lot of fun, no matter whether you go for the old-school vintage cheesecake kind of look or if you want to add a modernised twist to them. You don’t have to be a pin-up artist to create pin-up art, but to achieve the special look and feel, you’ll need to spend some time researching the old pin-up masters such as Alberto Vargas, Gil Elvgren, Billy de Vorss, Joyce Ballantyne, Zoe Mozert, Edward Runci, Earl Moran and Haddon Sundblom to mention a few.
After receiving some positive feedback to my last work “yuka” I decided to write a detailed tutorial about creating process. My main goal was to create a painting which was really detailed. I knew that I wouldn’t be able to do it without a real photograph so I started to look for something that would interest me and make me want to spent a lot of hours painting it in photoshop.
I’ve not done any illustration work that could be considered erotic. So when I was asked to produce a piece of erotic art, I was initially flummoxed. I thought about painting a saucy space vixen, a flirtatious fairy or a Barbarian babe in a furry bikini. I even tried a few sketches, but none of them seemed to hit the mark and I was getting frustrated. Until I found an old sketch that I’d done of a mermaid.
This image was created as a request by my Grandmother; she wanted something for her dining room wall. I had plenty of things to choose from, but I thought it would be nice to paint something that she could identify with. Instead of aiming to create a photo-realistic or a cartoon-like image, I made something in between, which I believe is a better style to have on a wall.
To paint a realistic portrait with a reasonable amount of refinement and detail can take anything from ten to 50 hours – but it doesn’t have to. Using a combination of oil painting and acrylic techniques with existing digital painting techniques, I hope to show you how it’s possible to cut down your painting time dramatically.
To paint this way you have to be bold and decisive and have a good grasp of what you are trying to achieve. Hopefully the following steps will help you both cut down on those late nights and get a clean, finished look to your work.
The girl in the picture is a young witch with mysterious magic, the baby dragon is her pet. The baby dragon looks up to the sky naively, strains the leash, and wants to fly into an adventure. Overall, I want to create a peaceful scene, just like we are holding our own pets, and that makes you feel warm, or even like the feel of pride
Hecate is the Greek goddess of the crossroads. She is usually seen with two ghost hounds that were said to serve her. Today she is often seen as a goddess of witchcraft and evil. Hecate is said to haunt a three-ways crossroad, each of her heads facing in a different direction. She is said to appear when the ebony moon shines.
But I would like to create something a bit different to the real myth, in my mind, there must be a round moon behind her. As in history, she is said to haunt a three-way crossroads but to create something different I’m going to put three keys in her hand. Hecate is the Greek goddess, with Greek traditional clothes, so I will give her a long skirt. I don’t know why all the girls in my paintings are heartbroken; maybe there is a crack in my own heart…
When starting to work on this image I knew exactly what I wanted to achieve – an intimate and poetic mood, underlined by bold color choices and some surrealistic elements. I picked some general colors I would be using throughout the painting process and picked some skin tones for the character, by choosing a few midtones and then mixing them with the first palette. The brushes I used are quite standard for me: a hard round with ragged edges; a spackled brush; a rotating brush for skin tone blending and an airbrush.
Welcome to this tutorial that will focus on the techniques and tools I use to make a 2D digital painting (using PS 4.0/5.0) How was this tutorial born? Well, Dave from GFXartist pushed me around for some time (I kicked his ass actually.~Dave) and me being the soft hearted person that I am, I accepted this huge task .Why I say huge? Well, for YOU, I decided to do a very nasty ( difficult ) pose of a woman’s head, swung back a bit; a pose that is actually very hard to draw well because itâ€™s not something where you can use massive foreshortening tricks. Everything has to be at the right place, or else……. =). + we will add some metal parts, rubber, plastic and glass. All in all we will have a full blown portrait of a girl with her head tilted back, wearing an assault mask similar to what those Special Forces use. Anyways, I started writing this before I even started the picture so you’ll be monitoring the whole process REAL TIME. OK, onward we go.
This tutorial is about creating a fantasy scene called “Mother Nature.” We will use well chosen images, brushes and most off all our imagination in combination with Photoshop techniques to create an outstanding image.
In my concept I like to combine Asian style and Mechanic. This picture is of Angel warrior. He is the solider of heaven to protect human from devil. And he obeys only GOD. For this artwork my inspiration was from game such as Final Fantasy 7.
Greetings!! First of all I would like to thank CGArena to provide us this wonderful contest. I created this image in the 3D challenge and won the first prize sponsored by Pixologic, Craft animations, Softimage, cmiVFX, Eat3D, Polyboost and Best3d.com . And many thanks to my friend “Uday” who helped me in creating this making off.
I’ve always been fascinated by realism, and because of this it is really important to me that the base line-art sketch has got proper proportions. I usually use the old trick by putting a grid on top of a reference photo I’ve shot, and then I copy the same grid onto a blank canvas and start drawing grid by grid from what I see on the reference photo. I make sure to keep the grid on a separate layer so that I easily can remove the grid at a later stage, and also keep the drawing on a separate layer underneath the grid.
In this Photoshop tutorial I will show how I used Photoshop and a Wacom Tablet to create a digital illustration of a voluptuous Wonder Woman pin up. The tutorial reveals one of my digital painting techniques with a step by step walk through including images for each stage and layer settings.
Painting wings is quite similar to painting hair: the first time you do it seems impossible, but in fact it’s not, and there are little tips that can help a lot.
Before I start painting, I always do some photo research; in this case I looked at a lot of bird pictures to understand the feathers and decided what kind of design I wanted. Then I did a little concept sketch to test out a few colours.
When I paint wings, I think of them as a block; I never paint feather by feather, always as a whole element. I add in details later, once the lightning and the shape are okay. Working on them as a block helps to unify the wings and stops you getting too wrapped up in minor details.
It’s very crucial for a creator to foresee the image in his own mind and be able to know if it will make a good artwork, or not. I wanted to create a scene filled with tension and drama, just like a still from the film itself.
Jealous Bodyguard is one of ten pieces for a self promotion project that I am currently compiling called “Companions.” Each image within the book refers to people and animals from an imaginary place focusing on the relationships between the human inhabitants and the local wildlife. “Jealous bodyguard” was created with the idea of an animal used for protection as well as companionship for a young, regal, woman. Naturally the thought pattern centred around a creature that was graceful yet fierce led to the idea of a large domesticated cat not unlike a Bengal tiger, fierce but just as capable of affection. Originally the idea was to have the woman portrayed as a sweet, adoring, princess with her loving pet, but when the image didn’t spark enough interest amongst my peers I decided to focus on the ‘Guard’ aspect of the animal. My aim then became to make the animal appear extremely protective without affecting the demeanour of its owner, almost as if its aggressive posture and behaviour were expected. Consequently this led me to shift the woman’s appearance just as much. Instead of a serene princess she became a stern beauty just as fierce as her pet. The process I used to make this image is a-typical in how I work, including how I setup the image as well as how I use my Photoshop tools.
In this work, I want to interpret a new feeling of an old Chinese poem, and try to make it more fantastical, sci-fi and surreal
This article will provide you with a walkthrough of my experiences during the creation of this project. I have narrowed down my creative journey into 6 stages. I hope that you pick up some useful tips and find it entertaining and informative. Without further ado, here is an insight into the ‘Making Of’ Boudicca 3060 A.D.
To begin with, I would like to give you some background information on my general mindset and what things I take into consideration before approaching a painting. I do not believe in following a particular workflow for every project because having freedom over the process allows me to get the results I want in the quickest way possible. Working this way helps to promote experimentation and keeps me on my toes, so that I do not get stuck in a rut or trapped in a routine. It helps me to retain enthusiasm and renews my desire to deeply concentrate on an idea. I feel that painting a picture is a very organic process, which involves permanently reviewing elements and improving them if they aren’t quite working. I know that mistakes are going to be made, and this gives me the confidence to go right ahead and make them. If I make a mistake, I know I will learn from it in my efforts to correct the problem. It is the only way to grow and make progress as an artist.
In this workshop, I’m going to create an illustrative piece of fantasy art designed to appeal to children. That’s what I’ve spent the past 25 years doing. Illustrating for children doesn’t just mean boosting the colours and adding fluffy bunnies, even for the younger age ranges. Don’t underestimate your audience. They’re young and inexperienced – not stupid. Think more in terms of creating imagery for adults who may need more clarity in what’s going on, and who aren’t afraid to laugh.
In order to paint a realistic-looking eye it is necessary to understand its form. The human eye is a sphere, covered by upper and lower eyelids. If you imagine the parallel lines passing along the eyes, that will make it easier for you to understand how to construct your sketch correctly.
Eyes come in many diverse forms and will be different depending on the facial type and race of the person. The upper eyelid is wider than the lower one because of its function – to cover and protect the eye. While painting the upper eyelid, you can add expression and emotion to your character. Half-closed eyelids convey languor and allure; squinted eyes look sly or playful.
Don’t forget that there’s also a lower eyelid – if it’s missed, the eye will look strange and unrealistic. In the inside corner of the eye there’s a tear duct. Again, eyes look odd without this.
Film scenes frequently rely on vast backdrops and fantasy imagery which would be too costly or impractical to build or find. This is where matte painting comes in. Visual effects artists are called on to create both simple and elaborate illusions for films, by painting over a real image.
Historically, matte painters worked on glass, which was then superimposed over actual film footage in early 20th century movies. The technique saved having to send film stars and huge set crews off to remote locations, while also adding key details, atmosphere and uniqueness to a set. Examples of matte painting on glass range from classic 1940s Hitchcock films to the fantastical action sets witnessed in the first round of Star Wars films. Painting has come a long way since those early days of painting on glass. Today, using Photoshop and a variety of 3D tools, artists create complex, multi-layered environments that incorporate elaborate camera movement that was once very difficult before the use of digital technology.
I really enjoy painting portraits of beautiful, sexy, magical women. Beautiful lips make a woman’s face even more alluring. Lips are the main characteristic of sexual attractiveness and sensuality, and the size of her lips plays an important role in a woman’s appearance. Lips can be charming, tender and passionate – indeed, they’re an indicator of sensuality and warmth.
Hello Readers, this artwork created in Photoshop CS2 and with a Wacom Intuos 3. And now I will explain in detail about the making of this image
I’ve always been fascinated by realism, and because of this it is really important to me that the base line-art sketch has got proper proportions. I usually use the old trick by putting a grid on top of a reference photo I’ve shot, and then I copy the same grid onto a blank canvas and start drawing grid by grid from what I see on the reference photo. I make sure to keep the grid on a separate layer so that I easily can remove the grid at a later stage, and also keep the drawing on a separate layer underneath the grid. Still, if you are focusing on mastering human anatomy, this is not the way to go as this is simply more of a way to save some time and making sure you get a result that is pretty close to your reference photography.
My painting of Michael Cera, titled “SuperBad”, was actually created as part of a pitch for his new movie, Youth Revolt. The client wanted to persuade the studio to use an illustrated poster for this film, rather than the usual photographed one sheet. The direction I was given was to keep the art vibrant and make sure that Cera looked as nerdy as possible. They wanted a MAD Magazine type of look, minus the distortion.
I really recommend using a grid for beginning artists. You’ll find that your work will improve dramatically, and that’s always encouraging . I also encourage you to try drawing without a grid. I used the grid in the beginning (to check proportions, placement etc) and then later hid the grid while I was working with color.
Here is a new tutorial for all the drawing lovers. In this tutorial, we will make a quick sketch, scan the sketch, and convert it into Photoshop. Then the fun will begin. Drawing a portrait is not very simple, but with some knowledge you can achieve a lot. The end result may not look exactly like the person you are trying to draw, but the important thing is to do the best you can and make the eyes, mouth, or nose look similar to your subject.
In this workshop I will try to explain and describe those methods, as well as share some tips and hints that might further speed up and ease the hard process of rendering hands.
To use the workshop to its fullest, you should own and have a basic knowledge of professional painting software such as Painter and Photoshop and have a tablet available to use.
After having collected some pictures of the famous actress Angelina Jolie, I decided to use some of them for giving life to my homonymous creation Angelina Jolie. Before starting the phase of modeling it was important to take a moment to observe properly the features of this beautiful actress, above all of her cheekbones which are very particular and pronounced.
I had this idea about a fox-human hybrid creature.. a kind of ghost or supernatural being.. someone youcan meet in your dreams.. a guardian.. omniscient.. scary and sweet all at the same time.. red and orange and golden.. with shiny jadegreen eyes..
In this walkthrough I explain how I used Photoshop and a Wacom Tablet to paint a character from the new videogame Bioshock for GamePro Magazine. This walkthrough gives you an overview on how to use textures in a digital painting.
In this tutorial we are going to color a dragon portrait. Like I always said, it’s impossible to make a good painting without a good sketch, that’s why if your drawing is not as strong as you’d like, you should go ahead and buy a sketchbook before taking up Photoshop or tablet or any other stuff like that.
This picture represent a fantasy musician able to play harp on a spider web. I paint it as a personal piece, and it was a really big and fragile work.
In my artwork, I generally try to express a feeling, to tell a story… Seheiah is a bit different. I had been asked to illustrate August for a publishing firm. So I based my artwork on the idea of a kind of goddess in an antic style. I wanted it to depict a quite “fresh and radiant” feeling, a reminder of a summer morning. Thus I decided to include a wood with a lake above which my goddess would fly.
In this image I have tried extremely hard to improve my technique, especially when it comes to painting skin (colour and texture wise), hair and experimenting with lightsources. Many, many hours spent on this one. Everything painted from scratch, no references used, made in Painter and Photoshop.
The most scary thing in the world for an artist is a blank sheet (digital or not) you need to fill with whatever is in your imagination. Some artists like to fill it with a color, some with some random shapes… the way I begin my character pictures is by using some gradients to fill the space, but leaving some garish point that could be useful later on as a filling ligth to define the shape of our “hero”, a light from some source placed in his back.
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