Q&A: fur

ImagineFX - - Contents - Minty Ed­mond­son, Eng­land

Therese replies

When paint­ing dig­i­tal light in fur I try to take ad­van­tage of Pho­to­shop’s strong light layer styles. By switch­ing be­tween Soft Light, Hard Light or Over­lay and see­ing what works best, I can ef­fec­tively achieve that par­tic­u­lar kind of glow­ing light that ap­pears when light is scat­tered through and be­tween strands of hair.

I al­ways paint the an­i­mal with­out light first, as if it were com­pletely un­lit. On top of that, I wash it over with sur­round­ing colours and light, which helps to sculpt the shapes of the an­i­mal. Bounce light is very im­por­tant, so don’t con­cen­trate just on paint­ing di­rect light from the sun. For ex­am­ple, if you’re paint­ing a for­est scene, make sure that the fur which isn’t in di­rect sun­light picks up the green colours of the en­vi­ron­ment.

Where di­rect sun­light hits the crea­ture, I paint in bold strokes of white and light yel­low. Be care­ful though, and don’t overdo it so that it looks gar­ish. Keep it clean. Al­ways be con­sis­tent with light di­rec­tions and try to pic­ture the an­i­mal as a three­d­i­men­sional ob­ject. Light should al­ways be wrapped around the form – it’s what makes a paint­ing read as be­liev­able.

Pho­to­shop is good at han­dling light­ing, but not ev­ery­thing will work first time for you. I al­ways trial-and-er­ror my way through a paint­ing. Ex­per­i­ment!

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.