Use inked lines with dig­i­tal wa­ter­colours

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I scan my inked line work and give it two Layer Ef­fects: a sepia Color Over­lay and a 25 per cent, 10 point sepia Outer Glow. You can add th­ese ef­fects to a Group folder and drop dif­fer­ent lay­ers of art­work inside this folder. Layer Mask your line work to make non- de­struc­tive ed­its. il­lus­tra­tor Joseph Zbukvic, be­cause the use of black is very of­ten kept to the min­i­mum with tra­di­tional paint­ing.

In por­trait paint­ings, shadow ar­eas are of­ten treated with sat­u­rated red in­stead of dark grey tones or black, in an ef­fort to mimic the translu­cency of the skin.

When you’re work­ing on the chro­matic shadow, you’re also work­ing with colour vi­brancy. This is be­cause you’re mak­ing cer­tain artis­tic choices to en­hance the prop­er­ties of cer­tain colours.

Colour vi­brancy can be a strong de­sign lan­guage, be­cause it plays a sig­nif­i­cant role in how the brain analy­ses cer­tain light­ing sit­u­a­tions. As long as you ap­ply the ba­sic rules you can have more stylised colour choices, which in turn will give a spe­cific per­son­al­ity to your shad­ows. I hand-paint two mask ar­eas for the feath­ers and en­vi­ron­ment. With the feather area se­lected, I use cus­tom wa­ter­colour brushes, try­ing for a wash-like feel. I let the line work edges sug­gest the mass of feath­ers. You can get pretty wild and even ab­stract inside the masked area! The feath­ers and en­vi­ron­ment colour lay­ers both sit in a Group folder with a Pat­tern Over­lay: Gouache Light on Wa­ter­colour 40 per cent Over­lay. All colour lay­ers inside will pick up this tex­ture. The Smudge tool helps cre­ate a few wa­ter­colour-like ‘lost’ edges.

March 2015

The im­age on the left has the dark grey value for the shadow. How­ever, with the same il­lus­tra­tion, you can add colour vi­brancy in the shaded ar­eas by boost­ing the sat­u­ra­tion of red in the shadow area.

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