Manga Historical Characters Chapter 01 – Genghis Khan Chapter 01 – Genghis Khan Software Used: Photoshop
Introduction My name is Patipat Asavasena and I’m a freelance artist living in Bangkok, Thailand. I’m really inuenced by Japanese manga. You can visit my website www.asuka111.net to see my work in full. In this tutorial I’ll show you the process I used to create my image of Genghis Khan in a manga style.
I believe manga is a brilliant way to draw characters in a simple format, with more of a cartoon-like quality to them. Most of the manga art books out there have already explained the best technique for drawing a really good manga gure. However I still recommend that you learn the fundamental skills such as anatomy, realistic drawing and tonal value. If you don’t have a solid foundation to your image it cannot be improved. There’s no shortcut, so keep practicing and be patient!
Designing the Character To do a manga illustration you should do some research before you start. It’s really easy to nd some good resources on the internet. I love to look at reference books about the subject too. After I’d done this I was able to create a digital scrapbook from resources and information I found, and I used it as a reference sheet for my design (Fig.01 – 02).
Now and again I love to work on impulse. I like to use my own inspiration, or you could call it an improvisational method. Unfortunately I cannot do this when I’m working with a client as it may not meet their personal expectations. This is why I need to come up with a rough idea beforehand that the client is happy with. Only then can I move on to the next stage. also have to think about design fundamentals,
To design the composition for this image I used
Planning the Composition
such as the value contrast and focal point. I try
a small thumbnail sketch to visualize my idea.
Then I have to think about the composition
to come up with a simple design, because it
I imagined the overall canvas and then quickly
of all the different elements in the image. For
gives a clear idea and readability of the image to
sketched it out on paper. I took me roughly ve
example, characters, backgrounds and props. I
the audience.
minutes to create each sketch. I was able to
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Chapter 01
Chapter 01 – Genghis Khan
Manga Historical Characters
take a break and come back to develop some of my favorite sketches further until I came up with a great idea (Fig.03).
Refine the Thumbnail You can see that I chose the thumbnail s ketch I liked the best. I turned it into a digital format using Photoshop. I enlarged the thumbnail to t it to my canvas size (A4, 300dpi). Still keeping it as a rough sketch, I started to rene it. The digital medium is great for editing! I tried experimenting a lot. I like tweaking color, scaling and transforming layers and color overlaying. If I save multiple versions then the client has lots of options to choose from (Fig.04).
Rough Sketch I then decreased the thumbnail layer’s opacity and created a new layer on top. I developed the image into a more dened rough sketch for inking by drawing on the top layer. It’s a bit like tracing on a light table ( Fig.05).
Inking I would highly recommend using a pressure sensitive brush. I used a default Hard Round brush (10 – 15 pixels in size) to do the inking. You may have noticed that I used various line
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weights to give depth to the image. I also did some hatching to create the tonal shading effect and texture (Fig.06 – 07).
Canvas Preparation Next I created the layers for a character in the foreground, a ag in the middle ground and the mountain and sky in the background. I used the Lasso tool and Fill command to ll the area of each layer with a color. I tried to make sure that each layer had different tonal values to give the image a sense of depth. I arranged the lower value (the darker area) in the foreground and higher value (lighter area) in the background. This developed a backlighting effect and brought a more dramatic mood to the image. Then I used a soft brush to overlay the simple color on each layer to match the thumbnail ( Fig.08 – 09).
Tip: Turn on Preserve Layer Transparency to make sure that you can only paint on the opaque area of that layer.
Painting the Background Now I could start to work on the background layer. I found some good reference images from my own personal photos, but I didn’t just copy and paste them into my canvas. With reference photos I nd it helps to put them on a secondary monitor or a notice board so I can keep referring to them as I paint.
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I didn’t worry about the ag and mountain layer as much because they only had a small area in the canvas. I tried to maintain a good tonal value throughout and kept slightly less contrast between these layers. Both had a higher contrast than the character in the foreground to make sure they looked separate and to show depth. When I’m painting a new image like this I zoom out to see the whole thing and compare it to the thumbnail. This allows me to make sure I haven’t developed the image in a different direction to how I had previously planned.
Painting the Character Again I tried to match the overall image to the thumbnail as I painted, but also had some exibility to change or add some extra details. For example, I changed some parts of the character’s costume color to a slightly bluer hue. I also added some minor detail to the armor so it looked slightly damaged (Fig.10 – 14).
Touch-up At this point I created some adjustment layers so I could do some ne-tuning (e.g., curves, brightness and contrast, color balance etc.). This is a non-destructive method of editing an
Summary
provided you with some inspirational ideas or
image and allows you to come back to it later
Finally, my version of the great Genghis Khan in
helpful information. I encourage you to create
and change or remove some of the adjustments.
a manga style was nished! This took me about
your own masterpiece. Thank you very much
You can see this in Fig.15.
10 to 13 hours (Fig.16). I hope this tutorial has
and I hope to see you again in the next tutorial.
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Chapter 01
Patipat Asavasena For more information please visit: http://asuka111.net/ Or contact them at:
[email protected]
Manga Historical Characters Chapter 02 – Joan of Arc Chapter 02 – Joan of Arc Software Used: Photoshop
Introduction In the previous article I told you about the overall workow that I use to create an image and I also demonstrated a little bit of character design. This time I will look more specically at the techniques used by character artists and how to draw something in a manga style. The character that I will be looking at in this tutorial is Joan of Arc.
Before starting the actual image, I will introduce you to the technique I use to draw a character in a manga style.
Anatomy of a Human Skull Anatomy is very important of course, so I begin by drawing an accurate human skull ( Fig.01). It is really helpful if you can nd a real skull or one that you can use as a reference when drawing. If you can’t get one, you can always search for multiple references on the internet.
By studying the skull you will realize that it can be broken into two larger parts: the skull and the jaw bone. You can see in Fig.02 – 03 how these larger shapes can be adjusted and simplied to create a mange-style head shape.
This whole process can be simplied further
systematic. You can see how you can c reate the
When you are drawing you should always think
still to make our process more practical and
shape of a head using simple shapes in Fig.04.
about volume unless the character is going to
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be colored or painted in a at way. Check your character sketch to see if the forms look good by ipping the image horizontally. You may nd that there is quite a big difference when you do this to the image and that you spot quite a few little errors. If you draw on paper you can ip your drawing by turning your paper over and holding it up against a window so you can see your line work through the paper. To ip the i mage in Photoshop use Image > Image Rotation > Flip Canvas Horizontal (Fig.05).
Vary the Character You can created multiple styles of faces using this technique by adjusting the shape of the jaw bone and other features, as you can see
That’s all the advice I can give you for drawing
and study the human gure as it will really help
in Fig.06. You can nd inspiration to help you
a face in a manga style. It sounds simple,
you create a good character. Once you have a
do this by observing real people around you,
but it takes a lot of time to become efcient
good understanding of how to draw anatomy
or by drawing people in life drawing classes or
at using this particular process. I recommend
you can apply it to a lot of different styles and
anywhere else you can practice.
that you draw from life as often as you can
techniques.
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Chapter 02
Manga Historical Characters Chapter 02 – Joan of Arc
Start with a Concept I always start every concept by gathering references and other information. When I have got an idea of what I would like to do I start designing the character by creating a set of thumbnail designs. It is useful to get extra information about your subject matter as it will help add story to your image. I found out that Joan of Arc was a French heroine who claimed that she was receiving direction from God in her role as a French military commander as she battled against the English. This made me think of keywords like a religious messenger or a holy knight (Fig.07 – 08).
Composition design I chose a symmetrical composition to express the religious theme as this is common in that kind of art. To continue the religious theme I used common religious colors like red, gold and white. You often see these colors in the i mages that hang in churches and cathedrals. In the background I intended to show part of a glowing
Coloring Technique
will expand outside the edge of my sketch, but
character, which was supposed to symbolize
I chose a different coloring technique to last
this doesn’t have to be a bad thing. Little things
God leading the way (Fig.09).
time. This technique is similar to a watercolor
like this will make an image look less digital and
technique. By adding layers of paint in Multiply
more like a traditional painting ( Fig.10).
In the case of this character I also got inspiration
mode I simply increased the tonal value of the
from Milla Jovovich who played Joan of Arc in
desired areas. When I use this technique I don’t
By swapping between a paintbrush and the
the movie The Messenger .
create a layer mask, which means some color
Eraser tool you can achieve soft blending quite
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Manga Historical Characters
quickly. This can be done using three simple steps (Fig.11 – 12):
• Create a new layer to paint on • Apply the shade and color with a hard round brush • Change to a soft eraser and delete the sharp edges as required.
Armor and Metallic Items To create the armor, I used a technique where I use the Lasso tool and gradient lls to quickly create shading with soft blends on hard, mainly at surfaces. This technique will leave you with a very clean-looking metal effect that will need to be painted over with a textured brush to make it look more believable. I also change the color hue form time to time when doing this as it provides some natural variation ( Fig.13).
This technique can be explained in four simple steps:
• Lasso selects the desired area. • Use the Gradient tool to ll the area using a mid-range opacity. • Continue to the next area; you don’t need to deselect • Paint over the areas that should still be selected to add some texture.
God Light The God-like character was in the background and I didn’t want him to compete with the main
character too much. I kept the overall tonal
white. By using this method my painting stayed
value gray, but also put some white area around
rich looking and also felt naturally illuminated.
the hands so it contrasts with Joan’s face (Fig.14).
Minor Detail After I had nished building up the shade
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There are some details and a little bit of hue
with a Multiply layer, I attened all the layers
variation even in the white light. If I had painted
and painted on a new layer on the top using
it a pure white color then the picture would look
a normal round brush and some textured
very dull, so I used a complimentary color (light
brushes. I then continued to add minor details
blue) combined with the light yellow and pure
and clean up messy areas until I was satised
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Chapter 02
with the overall image. I also did some minor adjustments using Curves and Color Balance.
Final Thoughts That’s it for Joan of Arc. It was fun to use so many techniques on one image, and I hope they prove to be helpful to you too ( Fig.15).
Patipat Asavasena Web: http://asuka111.net/ Email:
[email protected]
Manga Historical Characters Chapter 03 – Cleopatra Chapter 03 – Cleopatra Software Used: Photoshop
Introduction For this tutorial I was presented with the task of painting the charming and beautiful queen of Egypt, Cleopatra, in a manga style. As you will see, I took a painterly approach to this painting, whilst trying to achieve the look of oil paints. This challenge created some unexpected results and also took much more time than usual.
Idea and Concept Although I didn’t spend time working on sketches or thinking about the composition, like I did in my other tutorials, I did have to think about the direction I wanted to take the image in before I got started. If I hadn’t set myself a specic goal, I might just have continued to paint without really getting anywhere. So to start with I had a good think about the concept.
I wanted to illustrate Cleopatra and capture how attractive she was in a portrait painting. I thought hard about her posture, silhouette and the lighting scheme. I spent quite a lot of time thinking before I started doing anything in Photoshop.
Preparing the Canvas To begin with I started to randomly paint onto an A4 size canvas at 300dpi with some brushes. This process helps me to warm up and it also makes me think about interesting textures. When I was happy to get started I used a large round brush to sketch the character and color scheme (Fig.01 – 02). I also used some photo references to help inspire her costume. Finally I used a small round brush to rene the detail, add the eyes and paint in some rim light (Fig.03).
Adding Color and Light I added a saturated orange color for the light in the background and a saturated dark red on the character to create a subsurface scattering effect (Fig.04). If you hold your hand up to the
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Chapter 03 – Cleopatra light you will see a good example of this effect, and without it skin doesn’t look believable.
I added a HSV adjustment layer with zero saturation on the top layer. This enabled m e to quickly check the tonal value of the image. I was able to quickly hide or unhide the layer to swap between color and grayscale without having to convert the entire canvas to grayscale mode (Fig.05).
Refining The next step was to paint over Cleopatra’s headdress and arm to rene the detail and volume. I also added a complimentary color (grayish blue) to the reection of the headdress (Fig.06). I wanted to make her clothing seethrough at rst, but I changed my mind at this point and decided to do something a little more conservative.
Changing the Pose After adding a rough background I just realized that the composition had too much empty
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space, so I decided to change the character’s
brushes to achieve the same effect in older
pose to support it (Fig.07). To do this I created a
versions (Fig.08).
new layer, and sketched a left arm and painted it. After doing this I ipped the canvas a few
Enlarging the Canvas
times and noticed som e errors in anatomy. To
When the overall image became clear I
x these I used the Lasso and Free Transform
enlarged the canvas to 11 x 15 inches size.
tools to select, copy, resize and move them into
The result of this was that the image looked
the correct place. This method only works when
blurry, so I continued to rene the detail even
you are correcting minor errors. If you come
more, especially at the focal points like the face
across a major error you will need to repaint the
and hands. This method helped to create more
incorrect part.
contrast between the blurry area and the focal area (Fig.09).
Blending with the Mixing Brush The next step was to use the Mixing Brush tool
Details
with the Flat Bristle brush to quickly blend the
I nd it quite a lot of fun to work on the detail.
skin and cloth. I didn’t want the brush to feel too
I keep panning around the image and spotting
smudgy so I set the wetness to around 30-50%.
details and rening them. The face is the most
This feature is only available in Photoshop
time-consuming area for obvious reasons. I
CS5 or higher, but you can combine various
added a red/orange gradient to a Multiply layer
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Chapter 03 – Cleopatra
over her face to mimic the look of make-up. Once I had done that I used a ne brush to paint further detail such as eyelashes, eyelids and highlights into a Normal layer. At this point I was happy with the character and could turn my focus to the background (Fig.10).
The Background I used Oil Pastels and a soft airbrush to paint randomly into the background until I created an interesting texture (Fig.11). I then added some cracks, edges and glyphs to make it look like there was an Egyptian stone wall in the background. As for the foliage I used a Mixing brush with a small real bristle to quickly paint them. I also added the buttery to the image
background. When I had done this the image
anything goes wrong you can always roll back
to add a mystical feeling ( Fig.12). At this point
nally felt done (Fig.13)!
to a previous version so you don’t need to start from a blank canvas again.
it felt like the image was done, so I left it for a while, and planned to look at it again later with
Final Thought
fresh eyes. When I did look at it again I was
Using an improvised approach is about settling
Personally I like to clearly plan everything before
dissatised.
on a direction and going with it. The good thing
I actually get started because I don’t like facing
about this is that you work instinctively, which
frustrating problems that waste my time later in
Revision
sometimes causes unexpected results. The
the process.
I think the thing that bothered me was that the
downside is that you have to deal with the
image lacked a sense of depth. I felt that the
unexpected problems too. I used to have to
Patipat Asavasena
fuzzy, unrened background that I had in an
scrap a lot of my work because of this.
Web: http://asuka111.net/ Email:
[email protected]
earlier stage looked better. Because of this I had to repaint the wall area again with a soft-
If you do employ this technique make sure
edged brush, and add a few lighter tones in the
you occasionally save your work, because if
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Chapter 03
Manga Historical Characters Chapter 04 – Helen Of Troy Chapter 04 – Helen Of Troy Software Used: Photoshop
Introduction This time I would like to guide you through the creation process of my manga version of Helen of Troy. This tutorial will show the common approach I take when it comes to manga painting, which I think has efciency and offers exibility for editing. I hope you will nd something useful in this tutorial – let’s begin!
Concept and Theme The story of Helen of Troy is about love and conict. She is the reason for the Trojan War, between the Greeks and Trojans. According to the story, Helen was the most beautiful woman in the world. She married Menelaus, who became the king of Sparta, but Paris, a handsome young prince from Troy, grabbed her and ed Sparta while Menelaus was not there. This was the event that triggered the war.
With regards to the theme, I wanted to portray the charm of Helen and the conict between the men in her life in this illustration.
Composition and Design I sketched some composition design thumbnails. These drawings were just for exploring my ideas, so they didn’t need to be detailed. Then, I chose one design that I liked for the next step. I also nailed down the design of Helen’s character and her costume before I moved on ( Fig.01).
Character Pose I feel more comfortable working on paper than in the digital medium; I tend to work faster that way. So, I stuck with the pencil and paper rst and imported the sketch to the computer for editing later.
I drew some more small thumbnails while I tried to come up with a graceful pose for Helen.
Rough sketch
them. After everything was done as planned, I
When I’m trying to work out a pose, I often try
I created an 8 x 12 inches canvas at 200dpi and
printed it out on A4 paper ( Fig.03).
the pose myself in front of a mirror. It’s a very
imported the sketch. Then, I transformed the
useful practice if you want to understand poses
sketch to match the thumbnail in the previous
Clean Up
clearly because it’s easy to overlook some minor
step. After that, I created a new layer and
I taped a blank piece of paper to the print-out I
details (Fig.02), such as how the arms twist or
roughly drew additional details. Finally, I ipped
made in the previous step, and then used a 2B
the tension in the muscles.
the image to check it for any errors and xed
pencil, sharpener and draft table to clean up the
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rough sketch. It’s quite an old school method, isn’t it? This step took me about 2 hours and 30 minutes. Finally, I scanned in the cleaned-up drawing and imported it back into Photoshop again. When you do this, remember to make sure you increase the resolution to 300-350dpi for a high quality le (Fig.04 – 06).
Digital Clean Up I created an 8 x 12 inches canvas at 300dpi and imported the drawing from the previous step into a new layer. Then, I selected the Curves tool from Image > Adjustments > Curves to increase the contrast of the line art, and used the Eraser tool to remove odd black dots that were caused by my scanner (Fig.07 – 08).
Changing the Line Art Color
until the line art was dark red. I also made sure
Then, I roughly put some colors down, playing
the Colorize checkbox was checked ( Fig.09).
with the layer blending mode and insanely tweaking the color with the Adjustment tool, then
I changed the color of the line art, for a softer look, by choosing Image > Adjustments > Hue/
Color Scripts
before saving it as a new copy. Usually, I create
Saturation, then increasing the Lightness value
I duplicated the current canvas to a lower
two or three color scheme variations, then I pick
to 8-10 approximately, and scrolling the Hue
resolution le by choosing Image > Duplicate.
one and use it as a reference ( Fig.10).
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Chapter 04
Manga Historical Characters Chapter 04 – Helen Of Troy
Setting Up the Layers Back to the original canvas, I created a layer for each element in the image: skin, hair, cloth, throne and background. Then, I used the Lasso and Fill tools to ll each layer with a solid color according to the color script I’d established earlier (Fig.11 – 12).
Tips: If you use a Wacom Intuos4 tablet, you can perform Lasso/Gradient switching quickly by using the customized radial menu. This technique can boost your working speed effectively. I like to put my common shortcuts in the radial menu (Fig.13).
Rough Shadow Details I used a large Flat Bristle brush to roughly paint the shadow. I didn’t use the small-sized brush because I wanted to make sure I didn’t focus on the details rst. I continuously reduced the brush size as I progressed to further steps. When you’re painting, it’s important not to forget to check the Preserved Transparency checkbox for each layer before applying the paint. This means that you can’t apply the paint on the transparency area, so the effect is the same as layer masking (Fig.14 – 15).
Skin Painting Technique I created a new layer on top of the skin layer and create a clipping mask by pressing Option + Cmd + G (Ctrl + Alt + G in Windows.) Then, I set the layer blending mode to Multiply and started to apply a light orange color with the Normal Round brush. Finally I merged it with the skin layer (Fig.16 – 17).
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Chapter 04
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Finally, I used the Gradient tool with a Soft
destructive editing of the image. This is quite
Round brush to blend the shadows ( Fig.18).
useful because you can come back to revise the
Manga Historical Characters
image later. But, if you use the tools in Image >
Over-painting
Adjustments, you can’t go back to the original
When I was satised with the overall look, I
le anymore (Fig.23).
attened all the layers and then over-painted the entire image (Fig.19). This is a time-consuming
Final Thought
step, but it increases the quality of work
And the image was done! I hope you enjoyed
signicantly. I often begin with the facial area
this tutorial as much as I did. I spent about
because it’s the main point of interest. Spending
twelve hours on this art work, and I’m quite
a good amount of time on the face is worth it.
satised with the nal result.
Fig.20 – 22 show the way the image changed during the over-painting process.
Keep up the good work and I’ll see you next time.
Adding the Final Touches After I added a lot of minor detail, I created
Patipat Asavasena
some adjustment layers, like Color Balance,
Web: http://asuka111.net/
Curves and Brightness/Contrast etc., for non-
Email:
[email protected]
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Chapter 04
Manga Historical Characters Chapter 05 – Geronimo Chapter 05 – Geronimo Software Used: Photoshop
Introduction Welcome to the last chapter of this manga painting tutorial series. This time I’m going to be demonstrating the workow and techniques I use to create a manga version of the famous Geronimo. I hope you will get some valuable ideas from my approach and that you can apply them to your own process.
Before we start I would like to tell you about Geronimo’s background. Geronimo was a Native American warrior and leader of the Apache tribe. Actually, “Geronimo” was a name that was given to him during a battle with Mexican soldiers. His real name was Goyathlay. He fought against Mexico and the United States for several years
which shows his experiences. His costume
draw two or three additional viewpoints of the
to protect his homeland from the expansion
is inspired by the Civil War period and his
same pose and then select the one with most
of those two countries. He died in 1909 from
weapons are a rie and a knife ( Fig.01).
impact for the next step ( Fig.02).
Draw Thumbnails
Create a Rough Sketch
Design Concept
I draw many small thumbnail sketches in order
Usually, I like to work with pencil and paper
I begin with sketching Geronimo’s character in
to explore various composition options. I initially
then scan the rough sketch into digital format
my sketchbook. Geronimo was a skillful warrior,
come up with some dynamic poses for the
later, but this time I will use the iPad to develop
so I decide to choose a muscular gure for him.
character, because I want to portray the sense
the rough sketch. First I use the iPad to take a
Also, his body has scars from many battles,
of a battle scene. After the pose is chosen, I
photo of the thumbnail sketch and import it into
pneumonia. Now, let’s begin the tutorial.
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the Procreate app (or you could use another drawing app, like SketchBook Pro, Brushes, etc.) This app is capable of working in layers same as Photoshop. Next I create a new layer and clean up the thumbnail. I export it via iTunes or email when it is done ( Fig.03 – 06).
Clean up the Sketch I create a 300dpi A4 size canvas in Photoshop and import the rough sketch from the previous step. Then I transform it to t the canvas with the Free Transform tool (Cmd + T or Ctrl + T). I use a 4px Normal Round brush to rene the details of the character in the new layer. Finally, I remove the old, rough sketch layer when I nish the clean-up sketch (Fig.07 – 08).
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Plan the Tonal Value
Overlay the Color
I duplicate the current canvas a couple of times
Back to the original canvas, I create Multiply
for tonal value design and color script. I roughly
layers on the top, and then use a large Bristle
paint the image in grayscale, so I can decide
brush to overlay the color according to the color
where I should put the dark and light tones to
script in the previous step. Actually, I like to open
allow for the best readability, and where the
the color script le side by side, and directly
focal point of the image should be. Then, I save
sample the color from it with the Color Sampler
the nal design as a reference for later steps
tool (Opt + left-click or Alt + left-click)(Fig.12).
(Fig.09 – 10).
Rough Painting Create a Color Script
I atten all the layers and select the Flat Curve
On another duplicated canvas, I roughly paint
Thin Stiff Bristles brush from the Brush Presets
with a large brush and try various color palettes
windows. Then, I roughly paint over the entire
to see which one is the most interesting. By
image. I use a brush size between 10 and 45px
doing some planning rst, it helps you to
for painting the small details. I will use an even
dramatically decrease the time for trial-and-
smaller brush for super-ne details later, but
error. Don’t forget to save the nal color script
I’m only focusing on the overall image for now
for later reference (Fig.11).
(Fig.13).
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Chapter 05
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Brush Stroke Technique
Refine Small Details
This time, I want to create the impression of
Next, I select the Normal Round brush to rene
brush strokes, so I decide not to overuse the
the tiny details, especially in the focal area,
soft blending like in my previous tutorial. I
which, in this case, is the character’s face. I use
carefully align my brush strokes to the surface
a 2 to 5px brush size and enable the Opacity
line, as if I’m sculpting the character. The
Pressure Sensitivity option (Fig.18).
Manga Historical Characters
character will look more realistic this way. Furthermore, it will also have a richness of
Add Flowing Particles
texture from the brush strokes ( Fig.14 – 15).
I create a new layer and randomly paint solid blobs of color. Then, I select Filter > Blur >
Clean up the Background
Motion Blur and adjust the Distance value to
I x the composition a little bit by expanding
250. I repeat this step three times with different
overuse this setting as you can blow out the
the canvas with the Crop tool, and then the
sized color blobs and Distance values. These
details in highlighted or shadowed area. That’s
character ts well in the frame. After that, I
will create the illusion of depth ( Fig.19).
it; it’s nally done (Fig.20)!
reection, etc.,) and keep rening those
Final Touch
Final Thought
elements until I’m satised. I use the same
I keep painting here and there until I feel like it’s
I hope you enjoyed the tutorial and found it
brush from the previous step to handle this task
done. Then I atten all the layers together and
useful. I tried to explain my process as best as
(Fig.16 – 17).
do a little bit of Brightness/Contrast adjustment
I can, although it might not be perfect. If there
with an adjustment layer. Be careful not to
are any mistakes, I deeply apologize to you. I
add the background elements (trees, water
www.3dtotal.com
page 32
Chapter 05
hope you get a spark of inspiration, creativity and insight from reading it, as well as my past tutorials.
Keep up the good work!
Patipat Asavasena Web: http://asuka111.net/ Email:
[email protected]
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