Clip Paint Studio Drawing Curved Floor
Today nosotros're going to exist talking virtually lighting our digital paintings. For this tutorial, I'll be using Clip Studio Paint on the iPad Pro, simply it applies to whatever software that allows y'all to assign blending modes to your layers.
Color Studies
The ability to add light to a painting during or at the end of your drawing process is something to gloat! Yous can't do this with traditional media, and it allows you lot to experiment with and requite additional focus within your fine art during the production phase.
Traditionally, artists would pigment thumbnail-sized painting color studies to determine the tone or value range of their painting earlier diving into a full-sized final slice. With digital art, we can make those decisions on the fly or afterward we're done laying down the bulk of the slice.
That said, this doesn't take the identify of planning out a color palette. Aim for a harmonious palette with complementary color saturations that won't compete with each other and then apply the following techniques to throw your images over the top with creative lighting.
Allow's swoop in! I'll exist using ii paintings equally examples. One is stylized, and the other is more traditional. I chose these because I painted both with a limited gamut, a limited range of color saturation, so they're non overly contrasting. Once we add lighting effects, the contrast and saturation volition increase. Staying within a limited dissimilarity range allows you to maximize the amount of detail retained when ramping up highlights with blending modes. We'll exist using the Add Glow blending mode. In Photoshop, it's chosen "linear dodge." This mode affects the image in similar ways.
Blending Modes: What does Add together Glow practise?
To show what Add Glow does, start I make two layers and fill the lower layer with a brown colored rectangle. On the upper layer, I pigment a swatch over it. Since the upper layer gear up to normal, the swatch I made blends right in with the layer underneath. Setting the layer to Add Glow gives the states a consequence that's much lighter than the original color.
Understanding what's happening with these colors volition help us finer add together and command lite in our paintings. I use the eyedropper to hover over each color and see that the saturation of the original colour and the resulting color is the same, but the value of the color has greatly increased from fifty to 100. What happens when we add swatches raised in value? As the value of the color we are painting with increases, the blending way results go brighter. As nosotros approach absolute white, you tin see that we can get pretty brilliant, but there is still a little bit of tint or saturation to the color. That's because our saturation is nevertheless at 50%. As soon as we bring our saturation downwards to goose egg, we'll become absolute white.
The same matter is truthful every bit we become down on the color value range and start calculation black instead of white. As we arroyo a completely blackness value, the consequence of the blending mode disappears. Switching the layer to normal shows that we're painting with blackness but the effect of the blending mode is that information technology doesn't have any effect over the layers underneath it.
Why use Blending Modes?
And then why use a blending mode instead of the traditional arroyo of shifting the paint colour? The value of blending modes is that, once we have a bunch of marks on our canvas, we tin can apply the same color to affect multiple values and hues underneath it. For example, I brand another layer and set it to Add Glow. Then, using the original dark-brown color, I pigment over the swatches. Doing this results in varying amounts of light with one colour considering the blending mode is affecting all of the swatches underneath it.
Furthermore, using a soft airbrush creates varying degrees of light or glow; hence, the name of the way, Add together Glow. It's a little unlike than another blending fashion called Screen. With Screen, we don't get the saturation that we get with Add Glow/Linear Contrivance. You can see in the below image that with Add Glow, specifically around the edges of our pigment strokes, at that place's a variance between the densest part of the paint and where the brush falls off which makes the strokes seem a little scrap more brilliant and lit.
Using Add Glow as a Lite Source
Now that we know what the Add Glow blending fashion does let's add it to i of the example paintings. When I add glow, I think almost it every bit a light source. I consider directional low-cal, such every bit the light being bandage on the trees and surroundings. The layer I'm working on is backside my foreground trees, then anything I add together volition only affect everything underneath my foreground layer. I set up the layer to Add Glow, pick a common color from my mid-basis element, and I lay in some colour using the soft airbrush.
I'm substantially just painting in light around where the focus is going to exist. In the in a higher place image, I put the dominicus correct in the middle. In the image below, I lit upwards the right side as if the guy is riding into the sunset. We can alter the story in the painting based on our lighting scheme.
Painting a little more, y'all'll notice that the epitome is but going to get so brilliant because the value of the colour that I'm painting with only has a sure corporeality of whiteness to it which dictates the electric current value. Also, the more saturated a color is, the less we're approaching a pure white.
Let's endeavor with a darker mid-tone color, so we don't go too brilliant as well presently. I go in with the soft airbrush and paint over the clouds. The prissy affair well-nigh this airbrush is that we get some color gradation when we paint. To imply the dominicus, I heighten the value but a little bit to desaturate it, so in that location's a bright dusk on the horizon. If I find the colour getting too milky, I'll switch from my cartoon color to the transparent color and pull a little bit out.
Vignetting with Shadows
Now, allow's add vignetting with some shadow. I like to do this with curves, merely there are lots of means to do it. I add together an adjustment layer from the layers palette > new correction layer > tone bend and make a quick adjustment at that place, concealment the painting so I can get a sense of what's happening with it. Then l select the white area on the layer palette and articulate information technology then that information technology's not affecting anything, select my soft airbrush once more than, zoom out, and paint in the little bit around the edges, giving the image a ring around the edge. In the same way that the light is giving u.s. a little focus, footling curves can also assistance accentuate where we want the viewer to wait. Playing around with curves can shift the colors dramatically as well.
Before and After Blending Modes
Calculation in Color
Let's try 1 more blending way technique with this side by side illustration No Worries. After calculation a glow layer and playing with curves like in the previous prototype, this is the upshot:
It'southward and then easy to go overboard when adding glow. One of the beautiful things about this limited color palette is the grays, so I wanted to maintain those. Adding too much of glow, nevertheless, will over-saturated the image. In my opinion, this tin can make it expect less elegant.
An boosted technique is to play around with the colour balance and give ourselves some overall gradient shifts. For example, I want to experiment with adding some green, so I grab a color balance layer, adjust it, and clear it.
Next, I employ the soft airbrush over again to paint where I want the green to seep through. I want to try to avoid overly saturating or calculation too much contrast in my slice so that I retain the basic original feeling of how I painted it.
So at that place yous have it. I hope you learned a fiddling bit about calculation glow to your images in any software y'all use. But make sure that you maintain control of your decision-making process and most chiefly, accept fun!
About Reuben Lara
Reuben Lara is a traditionally trained artist who primarily uses Prune Studio Pigment and Adobe Photoshop and provides complimentary training for beginner and intermediate artists through video tutorials. He reviews basic tools that are affordable and accessible and teaches product-proven techniques and methods that he'southward been using for over 20 years in the design and illustration manufacture. He seeks to help artists learn how to enjoy painting in the digital workspace overcome technical hurdles so they can beginning having fun when creating fine art.
Source: https://www.clipstudio.net/how-to-draw/archives/156055
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