dongjun lu painting

oversimplified: light gets richer, warmer colors and detail, shadow gets duller,
cooler colors with barely any indication of detail. (is this the opposite of how
everyone else paints?)
make a palette with a) a base tone - b) a shadow tone - c) 1 or 2 highlights
block out the bigger shapes with 3 values
render with a tiny brush
when at a decent, cartoony level of finish, you can drop texture on top of it (soft
light layer mode) still only on light side (very few texture patches in select
places)
render more

jason seiler coloring approach

find the split harmony: squint your eyes to the image and determine the dominant
color
look for the opposite of that color, and shift it to both sides of the wheel to
find the complimentaries split of the dominant color
don't use the complimentary, only the split
mix the colors with those 3 'primaries'

marc brunet drawing + coloring (classic digital approach)

rough sketch block in

refine lines in separate layer + really refine lines!
fill flats
create an AO layer under flats
turn flats to multiply and optionally soften linework opacity
apply a gradient map to the AO to colorize it
create a cast shadow out of the sillhouete (all flats selection)
paint lights (ambient + directional + bounce) in separate overlay/hard light layers
final master paintover

dave rapoza concept art style

rough sketch -> opacity down

small line refined sketch -> change to multiply
*everything is flat, 100% opaque, light in value and desatured
fill with most frequent flat solid color
fill flats different parts of the drawing (hair, shirt, jacket , skin, etc.)
multiply layer for base shadows

nathan fowkes designing color and light

light color gets more of the color in the highlight and degrades as it moves
through the surface away from the light source (look into cornell box?)
color relativity is important: make a red redder by dropping a green next to it
sss: shadows are lighter and more saturated than in opaque objects
you need to choose whether to depict what's in shadows or in light. sacrifice one
in favor of the other (key up or down the value structure)
color easy mode = get value right, get temperature right, rest is ballpark
harmony = unity with variety - complimentary colors mixed? = desaturated
complimentary yet contrasting colors
fancy unity = mix a certain color in every color = unified bias
blues and oranges are a-okay
greens are unnatural and hard to handle: there's no natural green light on earth.
they're very relative
yellows can feel warm when saturated and sickly when desat
make grays interesting = flat gray + 2 complimentary same value colors
lightning is designed around contrast: where you want the eye to look

james paick environment design basics (photomanipulation, b&w)

block in comp
add photo, desat it, clip it, lighten mode, curve it, mask it
paint in light with a masked lighter curve layer paying attention to lighting
conditions and edge control
paint opaquely as needed

james kei digital figure painting

sketch quick line

block in shadow shapes
simultaneously blcok in a two-tone for the light and lighter parts
overlay layer for adjusting value+temp
refine opaquely
skin: paint very satured + glaze airbrush blueish gray on top -> study
bouguerau?

brad rigney hostile take over

smudge? how does it not lag? grab and shake like a maniac (40ish strength)
history brush?
dodge tool (20% ish - highlights)
techniques are too convoluted

sakimichan portrait painting

it's not 3 tones!

start with middle value, then add shadow (lower value, more sat), then add darker
shadows (lowervalmoresat)
similar to bob kato?

matt kohr design basics

sillhouetes thumbnails
iterate interior shapes: 2 values (25% + 75%), no opacity pressure (you can do this
step with line on a white sillhouete -> stroke fx)
back view iterations
color iterations
material iterations
choose, upscale and render

coro kaufman weapon design

start with 100% black thumbnail orthos, just shapes.

soft round volume pass
hard round bevel/detail/construction points pass (plus some graphics)
overlay layer for quick color tint (top light + undershadow [color dodge?])
zoom in + render without pressure opacity (with size jitter?)
joe peterson mechanical character design

just flow jitter, no opacity?

lasso + soft brush for value
free transform sections boldly
far side of perspective drawing vignetted as gray silhouette to make easier read
and avoid symmetrical drawing

xia taptara painting bodies

(very) quick outline. stays on top

base color (overlay layer?)
multiply layer for shadows. love 'em.
overlay/screen for lightning?
normal layer for refining

dylan cole matte painting

small brush + big shapes + scribbles = implies details (what speedpainting is based
on)
color variation!! = implies details
sculpt shapes with highlights and shadows
at a distance, there's (almost) no value change, just a hue slide.

anthony jones finishing a painting

block in a silhouette and explore designs - a good read with 100% opaque black will
make things much easier down the line (10 min)
lock transparency and start blocking values in - think graphically DO NOT RENDER.
(10 min)
color selection + color layer to block in colors + color balance + overlay layer
for more colors
multiply layer and black for shadows
detail
detail
detail
+ linear dodge layer? for backlight

daarken sci fi environment

really zoomed out

use chalky
rim light (hard brush?)
take it slow, you fucking moron
stay in the middle tones
overlay + black airbrush / soft light + white airbrush = quick atmo perspective

block color with overlay layer

refine with hard light, color and multiply layers?
refine with normal layer

tiny strokes on big shapes give the feeling of detail